5.6/10
130
6 user 4 critic

Deadly Hero (1975)

When disturbed New York City (NYPD) cop Lacy rescues Sally, a beautiful cellist, from deranged crook Rabbit by shooting Rabbit in cold blood, he sets off a spark of publicity that brands him the city's hero.

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Cast

Cast overview, first billed only:
...
Lacy
Diahn Williams ...
Sally
...
Rabbit
...
Mrs. Broderick
...
Reilly
...
Billings
Charles Siebert ...
Baker
...
Buckley
...
D.A. Winston
Mel Berger ...
Arco
Virginia Sandifur ...
Ellie
Ron Weyand ...
Captain Stark
...
Slugger Ann
Tom Kampman ...
Hunter
...
Victor (as Joshua Mostel)
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Storyline

When disturbed New York City (NYPD) cop Lacy rescues Sally, a beautiful cellist, from deranged crook Rabbit by shooting Rabbit in cold blood, he sets off a spark of publicity that brands him the city's hero.

Plot Summary | Add Synopsis

Taglines:

Not since "The French Connection" and "Death Wish" has a motion picture looked deep into the life and soul of the big city. See more »

Genres:

Crime | Drama | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

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Release Date:

15 February 1976 (USA)  »

Also Known As:

Troubled Times  »

Filming Locations:


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Technical Specs

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Sound Mix:

Color:

(Technicolor)| (Movielab)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Randolph Evans was shot to death unarmed by a now-former NYPD officer (Robert Torsney) over a month after its New York City debut. Torsney would later be ruled not guilty by insanity, which is what Murray's Ed Lacy was somewhat. See more »

Goofs

The NYPD calendar in Capt. Stark's office was June, 1975 but the filming dates were August-September, 1975. See more »

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User Reviews

 
Don Murray personifies police violence
19 February 2016 | by (United States) – See all my reviews

"Deadly Hero" (1975) is a 70s-style neo-noir. It's quite good, but beware that it seems to start off a bit slowly with some scenes that run too long, like a dancing/music scene. Once it settles down and focuses itself, it becomes more edgy. Don Murray is great as a violent cop who is first recognized as heroic but then is accused of murder. I felt that the movie did not generate much if any sympathy for him and his plight. After all, early in the story he guns down kidnapper James Earl Jones for no good reason at all when he has already surrendered. There is some allusion in the movie to Murray's character being an outlier among all police. We are shown many sides of his character, such that we can to some extent understand him. Being a street cop for 18 years has hardened him and being tough has got him commendations. He's imbibed a philosophy of being society's instrument against crime when the justice system fails. Regardless, his behavior can be seen as a prototype for today's far more extensive and unnecessary police brutality.

The film is very 70s, which is not a criticism. It's blunt, energetic, colorful and has a realistic street-wise edge. Being fully a New York City movie brings in an array of loud and boisterous New York characters.

Diahn Williams, who reminds me of Mary Tyler Moore, is perfect in the part of a 45-year old cellist who is kidnapped by Jones and becomes a key witness in the events leading to his death. The story develops into a thriller, but the heart of the movie has to be the tragedy of it that culminates from the basic conflict between Murray's behavior and the conscience of Diahn Williams.


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