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 <firstname.lastname@example.org>
Sidney Lumet: the director was unhappy with the way this movie was edited for television so he had his name removed and replaced with the pseudonym "Alan Smithee" for the television broadcast version. See more »
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 »
[telling Al Reilly about Kevin Quinn]
He's a prick. He's a racist and an anti-Semite and a prick. He wants to be Tom Dewey, and he will be. He married for politics and all he can see is way clear to God knows how high up. Years ago, when we still had executions in the state, he used to volunteer as a witness. Yeah, his first murder case, uhh he was a young A.D.A. then and I'm talking years ago... The case was shaky, circumstantial and he wanted a recommended death penalty from the jury. Before ...
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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 See more »
New York Confidential
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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