The New Centurions (1972) User Reviews

This Ain't Dragnet

[inspectors71 · 7/10 · 25 January 2007]

Joseph Wambaugh has written a lot of great books over the four decades of his literary career. My experience with him started in eighth grade in 1972 when I read The New Centurions, a blisteringly honest and terrifying book about the lives of three rookie patrolman in LA during the early 60s. It was easily the most grown-up book I had ever read (my mom thumbed through it and was appalled at the language; yet she let me finish it) and when I got to see the 1972 movie (butchered on NBC in '73 or '74), I had reread it and knew everything the little old ladies with the scissors had hacked out. Even with the obligatory mangling for our living room sensibilities, Richard Fleischer's film is a well-acted and gritty TV-looking version of Wambaugh's great, searing novel.

For the most part, the casting--THE critical step to putting the book on screen--was dead on. Stacy Keach nails Roy Fehler, George C. Scott is a slightly more buff, less urbane Andy Kilvinsky, and Jane Alexander (who is beautiful because she isn't) embodies Fehler's estranged wife, Dorothy). My only complaint is in casting Erik Estrada as Sergio. I know why he was picked--a blonde Hispanic would have confused viewers who had not read the book, but some skilled writing may have gotten the real Sergio across on screen. This is no insult to Estrada. He's hardly on screen, but this was before the excremental CHIPS, the show that ruined his career while making him a household name, and he is quite good for the few minutes we get him.

The problem with The New Centurions is that, since it is designed for mass consumption, it has been rendered more TV cop drama than searing expose of urban policing. It looks authentic, but the color and depth of the images never really fill the wide screen, dooming it to look like it belongs on the small one.

In comparison though, this is a much more successful adaptation of a Wambaugh work than the open-mouthed horror of Robert Aldrich's The Choirboys. That book was even more dark (how Wambaugh was able to make such a brutal novel so funny is still an amazement to me), but the 1977 movie was about as awful--and unfunny--as you could ever hope to miss.

Which, in comparison, makes The New Centurions all the better. Don't get me wrong, TNC is a flawed film, but it is a good one on the whole. I would just, strongly, suggest you read the book--and The Choirboys--first to get the real flavor of one of America's better crime writers (and social critics).

"The New Centurions" is definitely George C. Scott's film...

[Nazi_Fighter_David · 8/10 · 11 May 2005]

George C. Scott is a cool, uniformed policeman who employs his own unique methods of dealing with petty crime – once again, it's the character who knows his beat and knows how to keep it under control…

Faced with the task of rounding up prostitutes in the local Red Light district, Scott is well aware that dragging them into court will result only in nominal fines and a great deal of wasted time… So he packs them into a patrol wagon and drives them around the streets for the rest of the night, thus losing them a night's earnings and at the same time keeping the streets reasonably tidy...

Scott isn't in the least vindictive; he is merely keeping the peace in accordance with his own law… He even takes the trouble to stop the truck and buy them a bottle of Whisky with which to while the night away…

Yet this cop is a fast man with a gun… He is also the kind of policeman who is capable of administering a beating to the wrongdoers

The earthy cop film that led to "Police Story".

[planktonrules · 8/10 · 30 April 2014]

I recently bought the Season One DVD set for "Police Story"--the cop show from the 70s that was inspired by Joseph Wambaugh's film "The New Centurions". So far, I've really enjoyed "Police Story"--and am sad that only the first season is on DVD. So, in consolation, I decided to at least see "The New Centurions".

Like "Police Story", "The New Centurions" does not whitewash police work. The language is very earthy, to say the least--especially since it didn't need to worry about television audiences and was rated R. It shows the interesting side as well as the downside--and all through the perspective of a rookie cop, Fehler (Stacy Keach), as you follow his through the years. There is a HUGE price to pay for loving a job like this--as his marriage falls apart and he pretty much gives his life for the department.

I have noticed that other reviewers talk about Fehler's partner, Kilvinski (George C. Scott). He was a HUGE presence in the film, though he's only in about half the film. Apart from that, Fehler had other partners and a variety of experiences that all pushed him almost over the edge. Dealing with drinking, PTSD and more is what makes this cop film quite unusual--and well worth your time. Exceptionally well made and a film that revels in NOT being like cop films of the 30s, 40s and 50s!! Exceptional acting and writing make this a standout film.

A criminally under-rated Police thriller.

[alexanderdavies-99382 · 7/10 · 21 June 2017]

"The New Centurions" should have a solid 8.5 rating, rather than just a 7. This is an under- rated film about the general lives of police officers from a Los Angeles Precinct. George C. Scott and Stacy Keach lead the way as two police officers who are initially teamed up for night duty around Los Angeles. Following a few incidents, they get re-assigned different partners until Stacy Keach is transfered to the vice squad and George C. Scott retires from the force. The film wisely avoids any kind of trendy or glamorous approach to Police work. It is just shown for what it is - a dirty job that someone has to do. The police officers aren't shown to be more heroic than the average person but dedicated and good at their jobs. There is some good action along the way but "The New Centurions" works due to the acting, writing and direction. The recent British DVD release has brilliant sound and picture quality.

Cops never sleep at night

[dbdumonteil · 24 March 2010]

Richard Fleischer is arguably one of the most underrated American directors.He tackled almost all the genres and almost always succeeded,except in his last years (roughly from "Ashanti" on).The detective movie was always one of his numerous specialties.It's a long way from the (often remarkable) first works ,such as "the clay pigeon" and "follow me quietly" to the psychological thrillers ("compulsion" ) to the stunning serial killer stories of the early seventies/late sixties "10 Rillington place" and "The Boston strangler".

"The new centurions" is something drastically different,which can't be compared to any of Fleischer's previous works in the field.Fleischer's pessimistic side which was in the latent state in "compulsion" or "10 Rillington Place" , surfaces here as ever.It depicts the life of a cop (although George C Scott's name comes first in the cast and credits,he is actually supporting )played by Stacy Keach (a far cry from Mike Hammer;it's curious to notice he sometimes wears a mustache).And it's a life nobody would like to live.Happiness seems to elude him ,his marriage is already on the rocks when the film begins (" a plumber makes more money than both of us ,a cop and a bilingual secretary" says his wife (Jane Alexander));his nights are a very sad routine in which he risks his neck at every corner of the street ;he wants to study law and to get back to college but his job leaves him no time and no energy and he soon gives up.

The documentary side and Fleischer's feeling for economy and sparseness precludes all forms of conventional sentimentality : it's sometimes so hard and the characters seem so resigned to their fate that the scene when Jane Alexander bursts into tears near the elevator seems almost like an anomaly;so does Scott's fit of rage when he learns that the owner charges 50 dollars a head for a bed in a slum.

The title hints at the Roman Empire when Keach explains to Scott that they are like them,men who are here to protect ,to mount guard and to get a bullet in their hide so the others can go on;and he adds "and it worked...at least for a time in the Empire".

SPOILERS There is at least a moment which will haunt you long after watching "the new centurions" :after a phone call to his former colleague,trying to sound casual ,Scott takes his gun and ...his life. You often wonder why ,when a person you know commit suicide ;Fleischer gives no explanation.The old cop seemed happy ,fishing and enjoying life with his grandsons.

Gripping, tense and real

[Homer900 · 7/10 · 13 December 2007]

I saw this movie when it first came out. I was in high school and the son of a cop. I later became a cop myself and other than the setting (Los Angeles) this movie, while flawed, shows a side of policing that people rarely see, or at least then. Up until this time, with few cinematic exceptions, police officers had either been comic buffoons or squared-jawed emotionless men who always got their man. Here we have a young man who became a cop to pay for law school. He is introduced to an old veteran who only knows police work, nothing more. Together they become partners then friends. SPOILER: The scene of Kilvinski's (Scott) death is griping, but not unexpected. He was a lonely man who did not have his life (police work) any more. Juxtapose that with Fehler's (Keach)death. His life had hit a bumpy road but was upbeat and hopeful when he died.END SPOILER.

There are no heroes in this movie, but it does show the heroism of these officers going to work and doing their duty as best they can under trying and sometimes deadly circumstances. A good movie but a better book. If you have a chance, read all of Wambaugh's novels. He nails police work as it was in the 60s and 70s.

episodic in nature

[SnoopyStyle · 7/10 · 28 April 2017]

Roy Fehler (Stacy Keach), Gus Plebesly (Scott Wilson), and Sergio Duran (Erik Estrada) are rookie police patrolmen. Roy hopes to become a lawyer and his police work inevitably causes friction with his wife Dorothy (Jane Alexander). He's paired with experienced cop Andy Kilvinski (George C. Scott) who expounds his Kilvinski's Law on the tough streets of LA. Gus is by-the-book with 3 kids. He's paired with Whitey (Clifton James) and accidentally kills an unarmed man.

This is episodic in nature and is more TV than cinema. It fits a lot better as an ongoing TV show. It has a fun early moment of a fake impromptu divorce of a battling drunken couple. It's sardonic and crass. George C. Scott is operating at the top of his game. His performance fills his scenes. This would work better as a movie if it has a definitive central case or villain or incident. This is the opposite of slick. I can certainly see many later TV cop shows using this movie as a template.

shot to the gut

[SteveSkafte · 7/10 · 17 April 2012]

Stacy Keach and George C. Scott star in this very gritty, very honest portrayal of early-70s police life. It's directed by Richard Fleischer, who usually worked on much flashier material than this. I've seen a lot of films that dug in and tried to paint a clear image of police life, but this story brings a level of realism that is somewhat missing in most cases - it was written by a cop (Joseph Wambaugh).

"The New Centurions" is a title that hints at a much deeper perspective into familiar territory. Even though all the suspected clichés are still somewhat in place, they're there out of reality rather than just filling space in a movie plot. George C. Scott's character is on his way to retirement, but instead of him not making it, he takes a much darker path. It's that darker path, and the sense of hope behind it, that informs both Scott and Keach in their fantastic performances. They're as good as they'd ever been here - deep, powerful, and incredibly personal. There's a real emotional vulnerability on display that can't be denied.

Excellent... from someone who did it for 20 years!

[aerorr · 10/10 · 13 July 2007]

This is the ONLY movie about police work I've ever seen which is as close to the real thing as it gets. I know, I worked the street as a policeman for 20 years.

It's not all coffee and doughnuts wearing that blue uniform. People you are supposed to serve and protect spit at you and shoot at you. As the movie depicts, policework as a uniform officer goes from the routine theft to a gun fight.

Casting and acting for this film was first rate. Although produced nearly 40 years ago it still holds true today. Anybody who wants to be a cop should see this film first. Mike Palmiter, Williams IN [e-mail]

Not The Typical "Hollywood Crap" (for the most part)

[cultfilmfreaksdotcom · 7/10 · 4 September 2013]

Whether it's an exploitive early 70's crime flick with an underlying mainstream influence, or a mainstream cop movie that sporadically delves into a gritty no-nonsense peripheral, THE NEW CENTURIONS is an entertaining piece of cinema

After an opening credit montage of rookies -- including Stacy Keach's Roy Fehler, Scott Wilson's Gus and Erik Estrada's Sergio -- training at the police academy, we skip right to the chase well, almost. Your typical gruff sergeant (Dolph Sweet) is barking orders to a group of world-weary police officers. And with a fresh rookie partner in tow, they enter into the dark Noiry streets of downtown Los Angeles.

At first, the centerpiece is George C. Scott's veteran cop Kilvinski, who, with his own implied "laws" aka philosophies of life, provides Roy exposition through random busts including bickering prostitutes and, cutting back and forth from Clifton James's Whitey paired with Gus, and Ed Lauter with former gang member Sergio, domestic dispute calls that wind up humorously reminiscent of a television cop show.

But there's a point where CENTURIONS, compared by Kilvinski as a new brand of Roman guard -- equally hated and needed by that society like our own -- kicks into second gear.

Standout scenes include Scott Wilson's Gus gunning down an innocent man: The always edgy IN COLD BLOOD actor's shocked/life-altering expression, as well as Estrada's Sergio explaining his backstory as a gang member reluctantly brought back to his hellish home town, make this more character-driven than action-packed.

Although noted as a vehicle for the Oscar-winning Scott, remaining the wise mentor till a gloomy retirement, the story truly belongs to Stacy Keach, whose character-arc from an idealistic rookie to a seasoned cop to a reluctant vice squad officer to a hopeless drunk is underlined by the dwindling relationship with his wife and child: the domestic scenes border on melodrama but never take away from the gritty mainline: We always promptly return to the streets.

Based on a novel by former lawman Joseph Wambaugh (whose dialogue includes that this movie isn't the typical "Hollywood crap!"), insightful glimpses outshine the sporadic cinematic clichés, and a few scenes would be considered politically-incorrect to modern audiences (made up for by Scott beating up a crooked slum lord exploiting illegals).

But underrated director Richard Fleischer -- whose eclectic hit/miss career labeled him more of a talented hired hand than creative auteur -- using his signature grainy film stock, makes even the lighter moments look and feel completely intense and (despite a tacked-on conclusion) jarringly unpredictable.

Sombre Police Story

[Chase_Witherspoon · 8/10 · 15 January 2010]

Wanting a better life for his family, Keach enlists with the LAPD to supplement his wife's meagre income while he attends law school. But the job soon becomes all consuming leading to the breakdown of his marriage to Alexander whose support wanes in the face of constant neglect playing second fiddle to the force. In turn, Keach loses touch with reality whereby he questions his motivations for remaining in situ, but the job compels him to endure. After a litany of setbacks, alcoholic and facing ruin, he's briefly resurrected by Cash, taking pity on his misguided loyalty, and helping him to re-discover the purpose he once idealised. Rich, rewarding tale of an everyday struggle is told in a rather grim but entertaining fashion by accomplished director Fleischer.

Despite solid performances from Keach and Alexander in particular, this is George C.Scott's movie, as the maverick older statesman with nothing but the badge to define his identity. His character is a scene stealer, and is at times, fierce, frightening, benevolent and ultimately, very bleak. The highly emotional scene in which Scott telephones Keach and relays the metaphor of the old man and his burglar, resonates throughout the remainder of the film, and beyond.

There's not the synergism that you'd expect and if it weren't for the distinction that Scott, Alexander and Wilson as the modest rookie, each bring to their respective characterisations, "The New Centurions" would be just another police story, and this is evidenced to a degree when their characters are no longer in focus. A very capable and vast supporting cast bring a gritty reality, and the story ebbs and flows toward a sudden and unexpected climax. The anguish experienced by the characters is palpable, and every time the mood brightens, there's another catastrophe waiting. Probably not the movie to watch before joining the academy, but highly entertaining and thought-provoking nonetheless.

The force of order

[bkoganbing · 7/10 · 15 September 2015]

The very first police novel of Joseph Wambaugh is the subject of this film. Although George C. Scott is top billed the story is carried through all the way by Stacy Keach. In this Scott's role is similar to the one he played in Taps.

In fact The New Centurions also has a classical analogy as well. Scott as Julius Caesar who dies midpoint in the Cleopatra saga and Stacy Keach as the Mark Antony figure who carries on to the end to meet the same fate.

The title comes from the fact that these cops see each other as the forces of law and order holding back a tide of anarchy. That kind of pressure to be the force of order certainly puts a lot of pressure on those who enlist to serve. The old centurions failed and the Roman Empire they protected eventually failed as well.

Scott is the old timer ready for retirement and whose last partner is rookie Stacy Keach. Keach is married to Jane Alexander and has a young daughter. As Keach gets more into his job he and Alexander drift slowly apart.

It's a cliché in police dramas that death is ever present with those who take up this work. But this is one cliché that is tried and true. You'll see some examples of that.

Wambaugh's cops here and in other of his work are deeply flawed human beings and there's no exception here. Keach is completely unraveled when Alexander walks out on him and starts drinking on the job. He has an incident which I won't describe, but believe me it shows what can happen to a policeman who is abusing and not focused on the job.

Ironically Keach does meet another woman Rosalind Cash and with this The New Centurions marks one of the first interracial romances ever shown on the big screen. But death snatches him with rapid suddenness and it makes the tragic ending all the more poignant.

Down in the cast is James Sikking who went on to play many a cop most notably in Hill Street Blues. Keach does some time with the Vice Squad and Sikking who is perfect as an ambitious cop looking to rise by running up a score of arrests for victimless crimes.

Devotees of police dramas and serious ones will like The New Centurions. Fans of the stars will be impressed.

A Forgotten Film But Deservedly So

[magellan333 · 5/10 · 24 April 2008]

I picked up this movie at a local flea market. I noticed George C. Scott was a star and it was a cop movie. Being a fan of law enforcement films, I paid $2 for a VHS copy. When I finally was able to sit down and watch it, I found it wanting. There was no central plot to the story, just the random calls that this "rookie" and "veteran" receive. It was entertaining to see the old timer's methods of dealing with the prostitutes, as well as Isabel Sanford playing one of them. The "rookie" struggles to keep his family together and turns to the bottle as the rigors of police work take their toll. There is some insight given to the lives of the officers while out of uniform, but there is no depth. The entire film seemed to have the quality that one might expect from an episode of Police Story or one of the other many cop shows that graced the TV screen in the 1970s. I found the film full of clichés about life as a cop. Of course, given this film's date, perhaps it was the "cliche setter".

Nice little film. Good character study

[ebh · 1 February 2000]

Good little film, about the ins & outs of a group of cops in LA in the early 70's. Good eye for detail, and another fine performance by George C. Scott. This guy was on a roll back then. Having finished up the 60's w/ "Petulia", then "Patton", followed by the excellent gem "The Hospital", it was almost a couldn't miss. True to life depiction, bogged down just a bit by melodrama & cliche'-ridden script. Stacy Keach fine in this as well.

Good Wambaugh Story

[Theo Robertson · 6/10 · 27 September 2003]

I do rate Joseph Wambaugh as a good writer . Okay so he only writes police stories but JK Rowling brings out the same book every year and no one complains about that . If there is any fundamental problem with his books it`s that they lack a central plot . It`s a problem with THE CHOIRBOYS and it`s possibly a problem with THE NEW CENTURIONS , both stories being rather episodic . That said this is a fairly well acted gritty cop film ( The scene with the baby made me squirm ) with lighter moments such as the scene in the park late at night . It`s also a film that explains where the title comes from , something screenwriters seem to have forgotten about nowadays

Grim!

[son_of_cheese_messiah · 6/10 · 27 June 2015]

This is less of a story than a series of vignettes which take place over several years. They are loosely based around Stacey Keach's character. Although there is some attempt to inject humour, the general tone can be summed up in one word: grim. We see cops shooting innocent people, being shot and indeed shooting themselves. Other than that there's marital breakdown, alcoholism, child abuse and immigrant exploitation among other cheery subjects.

The only real comedy appears when Keach joins the vice squad. The comedy is not very successful and seems just added on. This part is notable for the appearance of James Sikking in what seems to be a trial run for his role in Hill Street Blues. HSB does seem indebted to TNC is some ways particularly the opening gathering in front of the sergeant (I almost expected him to say "let's be careful out there") and also the wide range of characters. HSB is much more successful than TNC however; there is much better character development and each individual plot strand is satisfactorily resolved. Also the comedy interludes are better.

In TNC the characters are rather sketchily drawn; they drop in and out of the film and we do not think we get to know them well. The vignettes jump quickly to the next scene sometimes months later which creates a disjointed effect. Certain plot elements are left dangling. For example, when George C Scott and Keach nab a suspect early on, there is talk as to whether the case will stand up in court or not. But we do not discover if it does or not. something which HSB would have clarified.

It also think that, despite the grim nature of the piece, the ending is unnecessarily downbeat and depressing. After watching this, one wonders why anyone would ever become a New York cop.

THE INS & OUTS OF POLICEMEN...!

[masonfisk · 7/10 · 13 August 2020]

A 1972 adaptation of Joseph Wambaugh's novel directed by Richard Fleischer (Fantastic Voyage/The Narrow Margin). Wambaugh, the preeminent crime writer of his era (I would also recommend his film version of the excellent The Onion Field from 1978, I think) details the ups & downs & extremely episodic nature of policemen & their time on the force following a rookie, played by Stacy Keach, & the old pro, played by George C. Scott. Through various escapades we learn the nitty gritty of the LA boys in blue as they deal w/an assortment of cases (much like Adam 12 did in the 60's on TV) as cops are on patrol & calls come in for them to deal with. No big bad guy or overriding crime is dealt w/here since the focus is on character rather plot. We see Keach's marriage falter (his wife played by Jane Alexander) as his stated intention to continue his career through law school is curtailed when he finds he's developing a genuine taste for the job while Scott, a single guy (we presume he's divorced or his wife has passed) is about to retire & go live w/his daughter & kids in Florida. Through it all, we see the toll the job takes on the men we've come to rely & respect as they're shown to be human after all as limned by screenwriter Stirling Silliphant. A great supporting cast fill out the proceedings like Clifton James, James B. Sikking, Scott Wilson (Herschel from The Walking Dead), the late, great Ed Lauter, William Atherton (from Ghostbusters), Erik Estrada (from CHIPS who I think was dubbed over whenever he spoke Spanish since he claims he never learned the language growing up) & Dolph Sweet (from Gimme a Break) as cops while perps are played by Isabel Sanford (from The Jeffersons playing a hooker here), Roger E. Mosley (from Magnum PI) & Pepe Serna.

Laws change. People don't.

[Hey_Sweden · 8/10 · 10 November 2018]

"The New Centurions" was the very first feature film adaptation of a novel by Joseph Wambaugh, a real-life former cop who parlayed his knowledge and experience into great success as a writer. It showcases an incredible cast of familiar faces, led by George C. Scott and Stacy Keach, and benefits from straightforward storytelling by excellent journeyman director Richard Fleischer.

It features the kind of no-frills, matter-of-fact presentation that this viewer really appreciates, as it spins the yarn of rookie cops (played by the likes of Keach, Scott Wilson, and Erik "Ponch" Estrada) on the L.A.P.D., and their personal details. Keach is an idealistic type supporting his law studies through night shifts as a patrolman, but finds that he really enjoys this line of work, especially as he's mentored by a wise veteran, played by the wonderful George C. Scott. This is a guy who has his own way of doing things - his methods may not be completely legal, but they do work.

The narrative (the screenplay is by talented screenwriter Stirling Silliphant) does have an episodic quality overall, but the characters are generally sympathetic and so engaging that you want to keep watching them. It also helps that the film stays relatively believable, and rarely gets silly or melodramatic. It even includes a little romance, between Keach and appealing black nurse Rosalind Cash.

Extremely well shot on various L.A. locations by Ralph Woolsey, "The New Centurions" contains a potent musical score by Quincy Jones, and the volume of reliable and recognizable actors in supporting roles and bits is impressive: Jane Alexander, Clifton James, James Sikking, Isabel Sanford, Carol Speed, William Atherton (in his feature film debut), Ed Lauter, Dolph Sweet, Stefan Gierasch, Roger E. Mosley, and Pepe Serna; appearing in uncredited parts are Anne Ramsey, Gerald S. O'Loughlin, DeWayne Jessie, Kitten Natividad, and Lieux Dressler.

The picture may contain some humourous moments, but it's quite serious in the end, and ultimately downbeat. It doesn't shy away from the grim reality of life as a cop.

Eight out of 10.

Solid police procedural flick

[Leofwine_draca · 6/10 · 2 May 2015]

THE NEW CENTURIONS is a trend-setting police procedural thriller based on a best-selling novel that was itself written by a Los Angeles cop. It's a gritty and grimly realistic portrayal of the unrewarding life of a cop, where murder and alcoholism are just around the corner and the best thing a guy can hope for is not to be killed outright on the street that day. It's clear that this film was hugely inspirational, inspiring countless TV shows up to the present day, like the reality show COPS. I just wish the overrated END OF WATCH could have been more like this. Still, I digress: THE NEW CENTURIONS is blessed with an excellent cast that really brings the episodic storyline to life.

Headlining the cast is the ever-tough George C. Scott playing, you guessed it, a real hard-ass of a cop who takes rookie officer Stacy Keach (young, thin, and handsome) under his wing. The pair spend their time busting drug dealers, hookers, and armed robbers, all the while interacting with other officers in the precinct. These include an impossibly young Scott Wilson (THE WALKING DEAD), playing alongside Clifton James (LIVE AND LET DIE) and an equally youthful Erik Estrada. THE NEW CENTURIONS is a well made production, and I appreciated the excessively downbeat and pessimistic tone which is no surprise given director Richard Fleischer had recently shot 10 RILLINGTON PLACE.

What a cast ....... What a movie

[merklekranz · 8/10 · 23 January 2020]

One of the great cop movies of all time, "The New Centurions" has a powerhouse cast, and puts the audience right in the middle of the policeman's daily workday. Rather than one long drawn out investigation, this film is a ride along sharing the important as well as mundane responses to those who break the law. In addition to George C. Scott as the grizzled, about to retire, veteran, there are new recruits Scott Wilson, and the film's main focus Stacy Keach. Also on board in supporting roles are Ed Lauter and Dolph Sweet. The movie is engaging, humorous, and exciting, in other words immensely entertaining. The wonderful performances and gritty Los Angeles locations make this without a doubt a cop movie not to be missed. - MERK

DECENT WAMBAUGH FLICK WITH POTENTIAL!

[shepardjessica-1 · 6/10 · 5 November 2004]

Under- and over- rated at the time ('72), appropriately a good time in America to begin the Wambaugh cop legacy, this film has wonderful moments, but as a film it's a letdown overall. George C. is the best as always, Scott Wilson in a supporting role is crucially vibrant, and Stacy Keach at the HEIGHT of his wonderful movie beginnings is this Roy character (with great wife and actress Jane Alexander), but the script goes south 1/2 through trying to appeal to everybody, which was unnecessary in the early 70's. Keach (so great in BREWSTER McCLOUD, HEART IS A LONELY HUNTER, JUDGE ROY BEAN, FAT CITY, etc. .etc.) did a great job with crumby lines, trying to be (in his words)..super-cop). A decent well-made whatever. Scott's final scene = free acting lession to punks.

A 5 out of 10. Best performance = G.C. Scott. Worth the time; don't expect art and you'll see some cool stuff..Rosalind Cash, you know.

An excellent 70's cop movie winner

[Woodyanders · 8/10 · 26 February 2009]

Naive, idealistic rookie cop Roy Fehler (a typically fine performance by the always dependable Stacy Keach) gets shown the ropes by wise maverick veteran policeman Andy Kilvinski (superbly played by the inestimable George C. Scott) as the intrepid duo work a tough beat in the worst ghetto areas of Los Angeles. Roy's work as a cop takes over his life and causes his marriage to his concerned, but fed-up wife Dorothy (a strong portrayal by Jane Alexander) to fall apart while Kilvinski has trouble adjusting after he retires from the force. Ably directed by Richard Fleischer, with a sharp and astute episodic script by Stirling Silliphant, an uncompromisingly stark, realistic and unsentimental downbeat tone, grainy, yet fairly polished cinematography by Ralph Woolsey, authentically gritty Los Angeles locations, a funky, syncopated score by Quincy Jones, a devastating grim and depressing ending, a powerful central message about the heavy toll being a police officer takes on a man's soul, and several strikingly vivid individual vignettes (the accidental shooting of an innocent man in a dark alley way, Roy getting blasted in the stomach while on duty, Kilvinski committing suicide in his empty house), this film packs a very potent and lingering punch to the gut. Keach and Scott display a wonderfully natural and engaging chemistry in the lead roles; they receive sterling support from Scott Wilson as earnest eager beaver Gus, Rosalind Cash as sympathetic nurse Lorrie, Erik Estrada as honest Hispanic flatfoot Sergio, Clifton James as the crusty Whitey, James Sikking as the doltish Sergeant Anders, Ed Lauter as the dim Galloway, and William Atherton as the by-the-book Johnson. Isabel Stanford and Carol Speed pop up in an amusing scene as a couple of brash hookers. Harsh and pessimistic, but well worth watching just the same.

Kilvinski's Law

[kapelusznik18 · 7/10 · 13 October 2015]

***SPOILERS*** From the pages of Joseph Wambaugh first and best selling novel about the men of the LAPD the movie shows how a job like a policeman can change a person into a mentally unstable individual if he lets it take over his life. There's' patrolman Andy Kilvinski, George C. Scott, a 25 year veteran of the LAPD facing retirement and breaking in young rookie cop Roy Fehler played by Stacey Keach with and without, at times during the film, a mustache. Kilvinski shows young Roy in how to do the job based on "Kivinski's Law" which worked so well for him over the years. At first only looking to be a cop until he finishes law school and become a full fledged shyster/lawyer Roy soon becomes married to his job and forgets law school as well as his wife Dorothy, Jane Alexander, who the job of being a policeman replaced.

While at a stake-out that Roy get shot by peace loving two hippies, whom he caught making out in the backseat of a car, that hospitalized him from six months with a near fatal stomach wound. Back at work and with a new attitude Roy seemed to have lost his ability to do his job without his partner the wise old Andy Kilvinski guiding him in his work. By now the job as a policeman has taken over Roy's life so completely that his wife, taking their daughter along with her, left him leading Roy to drink which didn't make things that much better for him.

***SPOILERS*** It's after Roy's partner Andy Kilvinski, who by then retired from the LAPD with 25 years service, came to visit his old precinct-the 25th- that Roy having better things to do like drinking and having an affair with a nurse-Rosalind Cash-who treated him for his injuries more or less fluffed him off. That feeling of rejection ended up turning Kilvinski, left alone and deserted by the men he worked with, to put a gun to his mouth and blow his brains out! Roy now on a guilt trip in feeling responsible for Kilvinski's suicide in a strange way gets his wish by getting killed on the job, by a local psycho, so he won't have to end up dying alone, by his own hand, with no one giving a cr*p if he was alive or dead like his friend and partner Andy Kilvinski. Realistic movie about police that was overlooked by the public and critics back then but has now become somewhat of a minor film noir classic.

Terrible Film

[bac-96806 · 1/10 · 18 June 2020]

Slow, boring, overly cliched film that missed the mark completely. This kind of story has been done better in dozens of other films. Actually, EVERY episode of Police Story is better than this bomb.

Gritty and grim

[dtucker86 · 16 January 2004]

George C. Scott and Stacy Keach both give wonderful performances in this film. Joseph Wambaugh was a member of the LAPD and has written many excellent books that really bring police work to life. Wambaugh's most famous book is probably The Onion Field, but this is also an excellent adaptation. What I like about this film is its no frills, no punches pulled approach to the world of police work. It is a thankless, demanding, depressing and dangerous job. Scott is wonderful as the veteran cop who has "seen it all" and is a mentor to young officer Keach. SPOILER ALERT SPOILER ALERT After Scott retires from the force, he realizes how empty and meaningless his life is, to this man police work was his whole life. The scene where he takes the gun out of the drawer and kills himself was shocking and chilling. I was also surprised that they killed Keach's character in the end as well. This isn't a "happy" film to watch but it is true to life which is a hell of a lot more then I can say for a lot of films. The New Centurions does for the street cop what Platoon did for the foot soldier in Vietnam. It is a worthy tribute to them and leaves you with sympathy and understanding for what they have to go through. George C. Scott never gave a performance that wasn't first rate and this is no exception. Maybe because it is so downbeat this film is rarely shown on tv and to my knowledge is not available on video but it is worth your while to catch it. By the way, Isabell Sanford (Louise on "The Jeffersons") has an amusing cameo as a hooker that Scott arrests.