A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
A timid and mute seamstress goes insane after being attacked and raped twice in one day, in which she takes to the streets of New York City after dark and randomly shoots men with a .45 caliber pistol.
A police Lieutenant goes about his daily tasks of investigating homicides, but is more interested in pursuing his vices. He has accumulated a massive debt betting on baseball, and he keeps doubling to try to recover. His bookies are beginning to get agitated. The Lieutenant does copious amounts of drugs, cavorts with prostitutes, and uses his status to take advantage of teenage girls. While investigating a nun's rape, he begins to reflect on his lifestyle. Written by
Ed Sutton <email@example.com>
The organ music playing during the scene depicting the rape of the nun among others was added at a later date.The score playing during the scene was originally supposed to be the rap track "signifying rapper" by Schooly D(featuring a famous Led Zeppelin guitar rift).However due to legal disputes over Copyrights the other music was substituted and all references to Schooly D were omitted. The version with the Schooly D music was I believe played during the Channel 4 forbidden season. See more »
When the Lt. stops the car with the two rapists inside, a passerby seen through the driver side window points at the car and can be heard saying "They got a camera." See more »
[to his young sons as he drives them late to school]
Hey, listen to me. I'm the boss, not Aunt Wendy. When it's your time to use the bathroom, you tell Aunt Wendy to get the fuck out of the bathroom! What are you, men or mice? She's hoggin' the bathroom - call me! Call me, and I'll throw her the fuck out!
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Relentlessly depressing, sleazy study of a morally bankrupt cop...
If there is at least one thing to admire in BAD LIEUTENANT, it's Harvey Keitel's method performance as the corrupt cop without a moral compass who goes through the film indifferent to everyone but himself, getting high whenever he's in the need of a fix, intimidating anyone under his charge--including teen-age girls in the film's most exploitational scene--and upset through the entire film over the rape of a nun who has forgiven her attackers.
Keitel throws himself completely into the role, gnashing his teeth and clenching his jaw effectively whenever stirred to emote, crying like a wounded animal when he feels no justice in a world where injustices are free to roam. He's quite an intense actor and always seems to be cast in these kind of roles that show the underbelly of human beings, usually in stories of the kind that Martin Scorsese likes to tell about corrupt cops. Unfortunately, any director needs a good script.
Well, Abel Ferrara is no Scorsese. He's made a cheap looking exploitation film about a sleazy subject and seems to think that the more gross it is, the more gritty he makes it look, and the shakier the hand held camera is at catching grimy glimpses of New York streets, the better it will be appreciated by fans of this kind of schlock.
Summing up: He's a bad lieutenant in a bad film. Too bad Keitel can't find a film worthier of his talents. All he needs is a good script.
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