A San Francisco city bus, with eight passengers and the driver, pulls out of a downtown bus station and moves through the city stopping once for a new passenger. The passenger, unseen above the chest, walks to the back of the bus pulls the pieces of a sub-machine gun from a tote bag, assembles them, and massacres the eight passenger and the driver. The bus crashes and the killer walks away. Driving onto the scene are homicide detectives Jake Martin (Walter Matthau), Leo Larsen (Bruce Dern) and James Larrinore (Lou Gosset). As they search the bus they find one of the bodies is that of Dave Evans (Anthony Costello), Martin's police partner. It is the search for the murderer and the reason for Evans' presence on the bus that pairs detective Martin and Larsen together. With the help of Evan's girlfriend Kay Butler (Cathy Lee Crosby), they determine that Evans was following leads to close a murder case which Martin, sixteen years on the force, was unable to solve two years previous. Thed ...Written by
Les Adams <firstname.lastname@example.org>
For some reason, this crime drama is almost completely overlooked. Even though it has it's faults, it is mostly a terrific examination of a police investigation. (In fact, in Australia, it was titled "Investigation of a Murder" which is far more apt a title than what it is here.) Matthau plays a police detective whose partner has been gunned down in a mass murder aboard a city bus. He is paired with Dern to find out if there's a connection between the massacre and the policeman's presence on the bus. They form an uneasy alliance (due to their clashing personalities and styles of working) and attempt to solve the baffling case. Gossett makes a strong impression as a fellow detective, though his character sort of drifts out of the picture at some point. Crosby and Cassidy have small, early roles as women who were affected by the murders. What's brilliant about the film is the wondrous verisimilitude and almost complete authenticity of the settings and performances. Only occasionally, can someone be caught "acting". Most of the time, the camera acts in an almost documentary fashion, eavesdropping on the various events and conversations. This type of gritty, realistic, matter-of-fact film is simply not made anymore today. The comparatively simple bus massacre is more striking and vivid than any of the overdone action scenes that litter all of today's films. There's a stark quality to the production that fits it well. Where the film strays is in it's endless cop vignettes which don't always have anything to do with the plot and which distract from, rather than enhance, the story. It's as if the writers tried to include too much from the source novel and wound up muddying the waters of the primary story. This also makes the film hard to follow at times. What's priceless is the display of the unmistakably tacky clothes and furnishings of the 1970's. There are also amusing glimpses into the San Francisco gay bar scene with real patrons displaying their faces (sometimes made up in drag) before the camera. Matthau says little in the film, but holds the attention with his various personal demons and conflicts. He chews gum incessantly and listens to standards on his radio to keep his emotions in check. Dern, as a more lively sort, is a great counterpoint and holds his own nicely. The mystery winds up being not all that big a mystery at all, but there's still a decent payoff with a "French Connection-esquire" car chase through San Francisco.
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