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 refuses to help him in this gritty ... See full summary »

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(as Alan Smithee: television prints)

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(book), (screenplay) | 1 more credit »
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Nominated for 1 Golden Globe. See more awards »

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Cast

Cast overview, first billed only:
...
...
Al Reilly
...
Bobby Texador
...
Kevin Quinn
Lee Richardson ...
Leo Bloomenfeld
...
Luis Valentin (as Luis Guzman)
...
Sam Chapman (as Charles Dutton)
...
Nancy Bosch
...
Roger Montalvo
International Chrysis ...
Jose Malpica
...
Larry Pesch (as Dominick Chianese)
...
Nick Petrone
...
Preston Pearlstein
Gustavo Brens ...
Alfonse Segal
Martin E. Brens ...
Armand Segal

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Storyline

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 refuses to help him in this gritty crime film. Written by Keith Loh <loh@sfu.ca>

Plot Summary | Plot Synopsis

Taglines:

When the questions are dangerous, the answers can be deadly.

Genres:

Crime | Drama | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

27 April 1990 (USA)  »

Also Known As:

Tödliche Fragen  »

Filming Locations:

 »

Box Office

Gross:

$11,207,891 (USA)
 »

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Nick Nolte gained 50 pounds for his role as Brennan. See more »

Goofs

Chief Quinn asks ADA Reilly why he did not attend St. John's Law School. Hutton says his father didn't like the Jesuits. St. John's University is not a Jesuit institution. It is conducted by the Vincentians. See more »

Quotes

Captain Lt. Michael 'Mike' Brennan, NYPD: Oh, Reilly. You just loved the idea of your father. Now, your father was dirty. He was as dirty as they come. Nothing big, just penny-ante stuff. You know, free meals. A place to coop. For a while, he was a bag man for a pad in the South Bronx. The normal stuff. He took home $100, $150 a week. That's all. But hell, what a cop. Like me, he was the first through the door, the window, the skylight! I mean, he knew there were animals out there! He knew there was a line the niggers, the spics, the ...
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Connections

Referenced in Queens Logic (1991) See more »

Soundtracks

TIP-TOE THRU' THE TULIPS WITH ME
Written by Al Dubin and Joseph A. Burke
Performed by Tiny Tim
Courtesy of Reprise Records
Warner Bros. Music
A division of Warner Bros. Inc.
By Arrangement with Warner Special Products
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User Reviews

 
New York Confidential
17 November 2005 | by (Saffron Walden, UK) – See all my reviews

Guess the film from the following description of its characters. A young man investigating misdeeds in the police force, motivated by the memory of his father (a legendary policeman) but also by the pain of having lost the affections of a woman he loves to another player in the drama. A renegade cop, rampaging violently through the city, but revered on the force for standing up to the scum on the streets. And the renegade's boss, who protects him, partly because he himself is on old-school Irish policeman; but partly because he appreciates having his own private bag-man, especially in his dealings with organised crime. Throw in some prostitutes for a little background colour, and it sounds like a perfect description of 'L.A. Confidential'. But it also describes this tough and underrated movie made by Sidney Lumet some years before Curtis Hanson's film.

Whereas Hanson's film was stylised, and glamorised violence (provided the cause was just), Lumet has gone for a more realist approach, and his bad cop (played mesmerisingly by Nick Nolte) is completely rotten, in fact resembling Harvey Kietel's 'Bad Liutennant' in Abel Fererra's movie. The film is dated by its ghastly electronic soundtrack, and more interestingly by its portrait of New York at a time when the city was at its lowest ebb. But it's a very well assembled thriller, exploring issues of race, mixed loyalties and the meaning of good policing without flinching from a grim picture of life on the margins of law abiding society. Lumet has had a long career, but this is one of his better films, and ultimately more truthful than Hanson's stylish charade. Each are good, in their own way: why is only one so appreciated?


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