A New York City narcotics detective reluctantly agrees to cooperate with a special commission investigating police corruption. However, he soon discovers that he's in over his head, and nobody can be trusted.
A young district attorney seeking to prove a case against a corrupt police detective encounters a former lover and her new protector, a crime boss who refuse to help him in this gritty ... See full summary »
Detective Emily Eden is a tough New York City cop forced to go undercover to solve a puzzling murder. Her search for the truth takes her into a secret world of unwritten law and unspoken ... See full summary »
Spanning nearly 40 years from 1925 to 1964, two Texas farm boys; straight-arrow Gid and laid-back Johnny fight over the affections of the beautiful and headstrong Molly Taylor, who ... See full summary »
Film adaptation of Anton Chekhov's story of life in rural Russia during the latter part of the 19th century. An aging actress Arkidana pays summer visits to her brother Sorin and son ... See full summary »
New York City cop Daniel Ciello is involved in some questionable police practices. He is approached by internal affairs and in exchange for him potentially being let off the hook, he is instructed to begin to expose the inner workings of police corruption. Danny agrees as long as he does not have to turn in his partners but he soon learns that he cannot trust anyone and he must decide whose side he is on and who is on his. Written by
Josh Pasnak <firstname.lastname@example.org>
Sidney Lumet agreed to direct under two conditions: he wanted an unknown actor to play Leuci and he wanted the running time to be at least three hours long. Treat Williams was unknown at the time but the final cut was edited down to 2 hours and 47 minutes. See more »
When Barnes is picking up the Ciello family at their home, Barnes puts his hat - a brown fedora - on Ciello's young child's head. In the next shot, when Barnes takes his hat back from the child, it is not the fedora he had just put on the child but instead is a dark hunting hat with a long baseball cap like bill and no brim. See more »
Gentlemen, I am gonna tear this town apart. And I'm gonna start with the French Connection ripoff. And the reason I'm gonna start with the French Connection ripoff is because it's a goddamn outrage, and I have already promised myself that it's going to be solved. So what you are gonna do gentlemen, is you're gonna make my word good. The target is cops, the weapon is indictments. And I don't give one infinitesimal fuck if they are indictments that will stick or not. Because to a cop any ...
See more »
accurate portrayal of use and behavior of informants
I've been a defense lawyer in NYC for the past 35 yars. I have more than a passing familiarity with some of the actual trials and appeals generated by Ciello's (Treat Williams' character) testimony. More broadly, I can attest to the accuracy of the film's depiction of the agonies, doubts, remorse and dreads of the turncoat/informant-witness in criminal cases. No film has developed this theme - a very common one in federal criminal trials, but one never visible to the public - as thoroughly as this film. "Goodfellas" devoted a few minutes to this, but only to the witness protection aspect after Henry Hill decided to testify, and never developed the broader, morally ambiguos dimensions of becoming an informer who turns on former close associates.
Nor has any other film more accurately revealed the way government prosecutors deal with their informants, which is not always pretty; often prosecutors treat their informers in ways that paralell the way Ciello treated his junkie informers on the street - he supplied them with drugs when he needed them, but he also abused, ignored or took advantage of their vulnerabilities when the need suited him.
The film also displayed, though it did not emphasize, another aspect of the prosecutor/informant relationship: willful blindness to likely perjury. Here, when Ciello offers to cooperate, prosecutors sternly insist that he tell the whole truth, not just about the crimes committed by others but by Ciello himself. They want to be assured of this not only because legal ethics demand it, but because their cases can fall apart if the defense later uncovers and reveals nasty secrets about the informant to the trial jury to undermine the informant's credibility. Here, as in the actual case, Ciello insisted that he had committed "only three" crimes while a NYPD detective. While prosecutors sensed, but did not actually know, right from the start that this was highly unlikely, and that Ciello was in fact concealing both the number and severity of his past misdeeds, they preferred not to inquire too deeply, and did little independent investigation of Ciello's prior misconduct on the force ("willful blindness"). That came back to haunt them, because after the trials, the defense lawyers dug up many of Ciello's hitherto unrevealed criminal deeds, and severely damaged his credibility, almost fatally imperiling the convictions his testimony had been so helpful in procuring. This film portrays not only the moral dilemma of the informant, but the moral dilemma of prosecutors, who desperately need informants to build their cases, but who have mixed feelings about learning too much about their unsavory pasts.
By the way, the detective played by Jerry Orbach has been a private investigator for the past 20 years or so (though never convicted, he was discharged from the police force); I've hired him, and he is terrific!!
47 of 48 people found this review helpful.
Was this review helpful to you?