Tag: Police Drama

Women, Power, & Desire: “Impulse” (1990) & “Body of Evidence” (1992)

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Impact (1990) starring Theresa Russell, Jeff Fahey, & George Dzundza

She’s an undercover cop. Seduced by a fantasy. Trapped in a mystery. Led by a dangerous impulse. It’s easy to lose control. -Taglines for the film

This is a psychological thriller co-written by a woman (Leigh Chapman) and directed by a woman- Sondra Locke (who had a palimony suit against Clint Eastwood while making this film). I learned re: Locke’s and Eastwood’s (turbulent) relationship on a recent ep of the podcast You Must Remember This (hosted by Karina Longworth). Yikes, Eastwood does NOT come out looking good! It was V difficult for Locke (who worked as an actress on Eastwood’s projects) to get funding for this small-budget movie (distributed by Warner Bros). In some ways, it’s ahead of it’s time!

Lottie Mason (Russell) is an undercover cop in the LAPD; she’s tall, blonde, and tough (ONLY trusts in herself). Her boss, Lt. Joe Morgan (Dzundza), has been sexually harassing her; we learn this in an early scene. Her bills are piling up and she is TOO invested in her job. While Lottie is helping an ADA- Stan (Fahey)- set-up a drug buy w/ a witness he needs for a case, they become romantically involved. They have a love scene which is unusual for that era, as it’s mainly re: intense gazes (which build tension).

It’s rare (even today) to see a movie centered on a female cop; it has become common on TV/streaming shows. Impulse is gritty, moody, and Russell is believable as a street-smart/independent-minded woman (w/ a hidden soft side). Lottie’s nights of dealing w/ lowlifes has affected her personal life; her Vice assignments incl. impersonating streetwalkers and junkies. She has mandated therapy sessions w/ Dr. Gardner (Lynn Thigpen), where she admits to having a fantasy of losing control and acting on (darker) impulses. Though some viewers felt it was a BIT slow, I think fans of the noir genre or cop dramas may like it. Both Gene Siskel and Roger Ebert called this “a V good thriller.” You can see it on Freevee.)

Body of Evidence (1992) starring Madonna & Willem Dafoe

An act of love, or an act of murder? -Tagline for the film

An elderly millionaire in Portland is found dead of heart failure handcuffed to his bed; a home video of him and a woman is running in the background. When cocaine is found in his system, and his will leaves $8 million to this woman (his lover)- Rebecca Carlson (Madonna)- police arrest her on suspicion of murder. Her lawyer, Frank Dulaney (Dafoe), succumbs to her charms and they start a (reckless) affair. As new evidence turns up during trial, Frank begins to wonder if he’s defending a murderer. (I saw the R-rated version on Freevee; many yrs. ago, I saw it on cable.)

Frank Dulaney: It’s not a crime to be a great lay!

Robert Garrett: Well, sure. l’d have to have myself indicted.

Body of Evidence is often (negatively) compared to Basic Instinct; shooting began only 2 weeks after that film was released, so the similarities are probably coincidental. However, the huge success of Paul Verhoeven’s film could still have influenced the direction and editing. Madonna met w/ a (real-life) dominatrix, who taught her how to tie someone’s arms behind their back using a belt. Dafoe attended a criminal trial; it was interrupted when several people (incl. the judge and many jurors) recognized him and wanted to talk. This is on Roger Ebert’s 2005 list of his most hated films. If you enjoy comedy podcasts, check out the ep reviewing this movie on How Did This Get Made?

Frank Dulaney: Counsel for the Prosecution has already used this witness to establish the state of mind of the deceased. He opened the can, Your Honor.

Judge Burnham: And I do see worms crawling all around you, Mr. Garrett.

Madonna was the 1st choice to play Rebecca; producer Dino De Laurentiis purchased the script b/c he believed it was the perfect role for her. She has short/platinum hair, V pale (unflattering) makeup, red lipstick, and designer clothes. Madonna personally selected Dafoe as her co-star, BUT they have no romantic chemistry together! As many filmmakers have noted over the yrs, casting is V important. Also, where is the development of the characters!? Frank seems eager (quite early on) to do what Rebecca prefers. In one of the (later) steamy scenes, Dafoe looks hesitant (as if performing a chore). Madonna’s acting coach quit just before production began, claiming that “she thinks she knows everything.” As this movie will show, she is a V limited actress. The dialogue given to her is NO help at all! The movie’s (German) director, Uli Edel, said Madonna refused to be directed in the sex scenes. She insisted on pouring (real/hot) wax on Dafoe’s chest in (perhaps the most controversial) scene- ouch! To y’all younger gen viewers, little of this content will look daring.

I was too young to know better. It was the first time I’d been asked to get naked and it turned out to be completely extraneous and gratuitous. Ugh. It was a terrible film and a terrible performance by me. It was about nothing, and I didn’t need to be doing it. -Julianne Moore

Joe Mantegna (who plays prosecutor Robert Garrett) said filming the courtroom scenes was so tedious that 2 extras (jurors) fell asleep during Dafoe’s closing statement. Mantegna (always reliable) yelled at them to wake them up- LOL! The director doesn’t know how to make the trial visually interesting. The judge has lines which (in retrospect) are sassy/funny. Anne Archer does OK what little she is given. A young Julianne Moore plays Sharon (Frank’s wife); she runs a successful restaurant and is mom to a preteen son (seen in just one scene). Moore (who can tackle any role) later said she regretted taking this on; she was then new to movies. Frank Langella has a small/pivotal role as a man from Rebecca’s past. One of Madonna’s besties (actress Sandra Bernhard) was heard laughing at the premiere, commenting: “This is not a serious movie!”

[1] It is both as bad as you remember it, but somehow endlessly entertaining.

[2] The movie goes from the ridiculous to the sublime and every thing else in between, and by the time the movie is over, you feel like you went over Niagara Falls on a surf board.

[3] The courtroom and crime scenes is just background to what the movie is, Madonna in the bedroom.

[4] …might have been much more fun had it the slightest sense of humor. Alas, all the laughs here are unintentional, and the straight-faced actors just end up looking foolish. […] For camp-addicts, a hoot; all others beware.

-Excerpts from IMDb reviews

“Someone to Watch Over Me” (1987) starring Tom Berenger, Mimi Rogers, & Lorraine Bracco

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He’s a streetwise cop who just made detective. She’s a stunning sophisticate who just saw a murder. A killer is the only thing they had in common. Until tonight. -Tagline

The film takes its title from the 1926 Gershwin song of the same name- Someone to Watch Over Me– which is heard in 3 separate renditions. They are by Sting (start of film), Roberta Flack (over the end credits), and Gene Simmons w/ Richard Wyands, Doug Watkins and J.C. Heard (from original 1961 version). This movie was often compared (during its initial release) w/ Fatal Attraction (1987), the then recent Adrian Lyne thriller. On Amazon Prime, I happened upon this movie categorized w/ erotic thrillers; as one astute viewer noted, this is more of a romantic thriller and throwback to classic noirs. This is director Ridley Scott’s 3rd feature (after Blade Runner and Legend) and the 1st one set in the modern period w/ contemporary characters. This movie deals w/ the issue of social class. I think class differences are V noticeable when one lives/works in NYC.

I’ve never played a cop before. I liked the character because even though he is the hero of the story, he has negative qualities and makes some big mistakes. I always find that interesting, a character with a dilemma to face, confronting his personal morality. -Berenger on his role

I wanted somebody who was fiercely independent and an interesting humorous character. It had to be someone who was the antithesis of Claire and yet someone who was equivalent to her. I think Lorraine fulfills those requirements very well. -Scott on casting Bracco

I didn’t want the character to be unreachable or so separated from reality because she lives in a $3 million apartment in New York. That in itself can be thought of as being pretty unsympathetic. It’s a very delicate role to play. The character has everything. Yet she has to show vulnerability and at the same time demonstrate sensibility and normalcy within her rarefied environment. I found that in Mimi. -Scott on casting Rogers

Tom Berenger (who’d appeared in 2 fine films- Platoon and The Big Chill) plays Mike Keegan, a 30-something cop/family man just promoted to detective. Sharon Stone screen tested for the role of socialite/write, Claire Gregory, which went to Mimi Rogers. Years later, Rogers auditioned for psychologist/murder suspect, Catherine Tramell, in Basic Instinct (1992), which went to Stone. The breakout star of this movie is 33 y.o. Lorraine Bracco (who has a real NYC accent); wife/mom Ellie Keegan is one of her earliest roles. She brings something authentic and fresh in her work, so that you don’t see the acting. Veteran theater/TV actor Jerry Orbach (a few yrs before his iconic Law & Order detective role) plays Mike’s boss, Lt. Garber. Mike’s (recently divorced) best pal is played by Daniel Hugh Kelly; he’s a cop enjoying his return to singlehood. Andreas Katsulas plays Joey Venza, a powerful/physically intimidating gangster.

There’s a very delicate balance of sympathy between the society woman and the wife. If [Tom] Berenger’s character is simply attracted to a beautiful woman, sympathy starts to weigh against him. I wanted to create that dilemma in the central character’s mind by giving him a very strong home life and a very strong wife. I wanted his attraction to Claire to be more than sexual. I wanted it to be cerebral to be everything. [Mike] Keegan is facing a very difficult question that has nothing to do with bank balance or other external forces. It’s a choice between women. Proper casting was crucial to creating this balance and making it work. -Scott on the love triangle

Ridley Scott is the most visual director I’ve ever worked with. He doesn’t neglect the actors, in fact, we’re very well taken care of. But he is fascinating to watch. He actually paints with light and with lenses and with angles, and it’s a very unique process. It becomes an element of the story because Ridley creates such a strong mood with his visuals. -Rogers on working w/ Scott

I always like seeing NYC in the movies. However, the nightclub scenes (opening) were shot aboard the Queen Mary in Long Beach, CA; the murder scene was filmed in the ship’s pool area. We see famed NYC places, such as Bergdorf Goodman (dept. store) and the Guggenheim Museum. Exteriors for Mike and Ellie’s house were shot in Long Island City (LIC) in Queens. Other locations incl. the Harbor View Restaurant on Old Fulton St, Central Park, the former police HQ on Centre Street, the subway, and the streets of the Upper East Side (UES).

[1] A highly stylized crime thriller that also manages to work as a tale of adulterous romance in addition to an effective parable of the culture clashes that are apparent between the upper and lower classes.

[2] …it is Lorraine Bracco who steals the picture as Berenger’s feisty wife. Long before she was best known as Tony Soprano’s psychiatrist, Bracco brought to the screen the ultimate portrayal of the modern wife and mother – loving but fierce, tough but compassionate, and not afraid to slap some sense into the man who has done her wrong.

[3] The direction of Ridley Scott is tight and perfect, as usual, using different angles camera and magnificent photography and shadows in the night, to express the differences between the two worlds. There is one specific scene that I love, when Mike is sat with his face half illuminated in the hall of Claire’s apartment, totally confused and with his feelings divided.

-Excerpts from IMDb reviews

#Oscars: “Decision to Leave” (2022) starring Park Hae-il & Tang Wei

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From a mountain peak in South Korea, a man plummets to his death. Did he jump, or was he pushed? When detective Hae-joon arrives on the scene, he begins to suspect the dead man’s wife Seo-rae. But as he digs deeper into the investigation, he finds himself trapped in a web of deception and desire. -Official Synopsis

If I cannot avoid it, then I embrace it. –Park Chan-wook (director), when asked re: modern technology in this film

This film (streaming on MUBI) is the official submission of South Korea for the Best International Feature Film category of the 95th Academy Awards in 2023. I’d previously seen The Handmaiden, also directed by Park Chan-wook (who is in a league of his own); here we find a V different (yet also compelling) story. I was curious to see it, as I heard it was a blend of mystery, noir, and (slow burn) romance. The inspo for Decision to Leave was the Swedish crime novel series The Story of a Crime by Maj Sjöwall and Per Wahlöö, which is re: aging police detective Martin Beck and contains social critique. At first, Chan-wook didn’t like the idea of using text messages; he’d considered a period piece (where the characters send hand written letters). When he decided on a modern setting, he put in a smart watch, voice recordings, and translation apps. Chan-wook used cell phone POV shots to show that the characters are NOT only looking at the screens, BUT to give a sense that they’re looking at the other person.

I envisioned it to be slow and gradual, but the actor [Hae-il] held the look for a moment too long before asking for the pattern to unlock her cell phone. -Chan-wook, when asked re: the possible “love at first sight” element

Jan Hae-joon (Park Hae-il) is an experienced cop in the big city of Busan; he’s in middle-age, wears custom-tailored suits, BUT can also run/fight better than some of the younger men. He’s a “dignified” man who is perhaps TOO invested in his work; one reviewer was reminded of Det. Vincent Hanna in Michael Mann’s Heat. Like many modern marrieds in South Korea (as my friend explained after her recent trip to Seoul), he and his wife (a scientist) live/work in separate cities, so see each other on weekends. The femme fatale is Song Seo-rae (Tang Wei, co-star of Lust, Caution), who reminded me of those beautiful/mysterious women of classic Hollywood. Both of the leads are able to portray vulnerability so well! It’s obvious that some of the authorities are suspicious of Seo-rae b/c she is Chinese (a foreigner) and much younger than her wealthy/powerful husband. There is a younger cop partnered w/ Hae-joon who provides comedy, as he has a LOT to learn and improve upon in his work.

This film is esp. well-edited and creatively shot, as many critics noted. There is much natural beauty to admire, going from city to mountains and- finally- the sea. There is no doubt that these filmmakers have an unique take, as they embrace, yet also subvert, the tropes of the crime drama. I esp. enjoyed the (gentle) romantic scenes in the 2nd act; Chan-wook said he was inspired by David Lean’s Brief Encounter. Many viewers were reminded of Hitchcock’s Vertigo, though the director said that wasn’t an influence.

Brief Reviews of Recent Views (DEC 2022)

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Dead End (1937) starring Sylvia Sydney, Joel McCrea, Humphrey Bogart, Wendy Barrie, & Claire Trevor

The Dead End Kids (a teen ensemble of actors who’d also appeared on Broadway) are introduced in their Midtown East (NYC) slum, overlooked by the new apts of the ultra-rich. Their antics, some funny, some vicious, alternate w/ subplots: jobless architect Dave (Joel McCrea- one of Hollywood’s “Everyman” actors) is torn btwn Drina (Sylvia Sydney- a big star of the ’30s), his hard-working/childhood friend and Kay (Wendy Barrie), the glam mistress of a rich man; gangster “Baby Face” Martin (Humphrey Bogart- before his leading man days) returns to his old neighborhood and finds that nobody is glad to see him. Then violent crime, BOTH juvenile and adult, impacts the neighborhood and its inhabitants.

Samuel Goldwyn acquired the rights to Sidney Kingsley’s play for $165,000 – a V large amount at the time (equivalent to nearly $3M today). The play had been a huge success on Broadway; its content had to be altered b/c of censorship in film. As some of my fellow classic movie fans know, producers had a LOT more power than directors in the Hollywood studio system. William Wyler (director) wanted to film on location on the streets of NYC, but Goldwyn insisted that the movie be made in the studio. Richard Day (art director) was assigned to design the sets, which were the some of the MOST elaborate sets in film history. Bogart (who was borrowed from Warner Bros.) got his role after George Raft turned it down; James Cagney was Goldwyn’s 1st choice. In order to get past the censors, references to Francey (a young Claire Trevor) being a prostitute were veiled (though mentioned in the original play).

The Mark of Zorro (1940) starring Tyrone Power, Linda Darnell, & Basil Rathbone

The Jagged Mark of His Sword Struck Terror to Every Heart – But One! -A tagline for the movie

I’m a big fan of The Mask of Zorro (1995) starring Antonio Banderas, Catherine Zeta-Jones, and Anthony Hopkins. Many of you will know re: the premise of this movie: a young Spanish aristocrat, Don Diego Vega (Tyrone Power- 26 y.o.), pretends to be a “fop,” BUT protects the poor/powerless folks of Los Angeles (then a part of Mexico) as the masked vigilante- Zorro (“fox” in Spanish). Many viewers have commented that Zorro (who hails from the early 1820s) is a precursor to the superheroes we know/love today. Lolita Quintero (Linda Darnell- just 16 y.o.) is the love interest; she meets Zorro (in disguise) and is impressed by his words. Lolita’s greedy/corrupt uncle, Don Luis Quintero (J. Edward Bromberg), has taken over Diego’s father’s job; his elegant/shrewd wife, Inez (Gale Sondegaard), dreams of being presented in the royal court of Spain. However, the main threat to Zorro is Don Luis’ right-hand man- Capt. Esteban Pasquale (Basil Rathbone- a trained fencer). The swordfight btwn Power and Rathbone will amaze you- WOW!

Blood and Sand (1941) starring Tyrone Power, Linda Darnell, Rita Hayworth, & Anthony Quinn

Love flamed in the shadow of death! -A tagline for the movie

Illiterate Spanish peasant Juan Gallardo (Tyrone Power) rises meteorically to fame and fortune as a bullfighter, ONLY to sow the seeds of his own downfall. This movie didn’t impress me as much as the previous one; Power and Darnell are paired up again, BUT then Hayworth comes into the mix. The costumes looked great (IMO), esp. the ones worn by the bullfighters. There is a steamy (for that time) dance btwn (real) Latin hotties- Hayworth and Anthony Quinn (who plays Power’s friend/competitor). Power was Irish-American, though this dark hair/eyes and gorgeous looks got him cast in “exotic” roles.

The Racket (1951) starring Robert Mitchum, Lizabeth Scott, & Robert Ryan

The big national crime syndicate has moved into town, partnering up with local crime boss Nick Scanlon (Robert Ryan). There are ONLY two probs: First, Nick is the violent type, preferring to do things the old-fashioned way instead of using the syndicate’s more business-like methods. The 2nd prob is Capt. McQuigg (Robert Mitchum), an honest cop and the loyal Officer Johnson (William Tallman). They take on the Nick and try to foil the syndicate’s plans to elect Welch, the crooked prosecutor running for judge. I wanted to see it b/c of Mitchum and Ryan; Eddie Muller (TCM) commented that they should’ve switched roles. Muller also noted that it had 3 different writers and 5 directors over its (V troubled) production! Mitchum later said there were many reshoots.

Back from Eternity (1956) starring Robert Ryan, Anita Ekberg, & Rod Steiger

A South American plane loaded with an assortment of characters crash-lands in a remote jungle area in the middle of a storm. The passengers then discover they are in an area inhabited by cannibals, so MUST escape before they are found. Ryan is giving it his 100% (as he does in every role), BUT he doesn’t come in until 15 mins. into the movie. He speaks a BIT of Spanish- V cool! Swedish model Ekberg (sadly) can’t act and is NOT confident w/ her English. That doesn’t matter to the director/producers, as she’s there mainly for her looks (tall, blonde, and curvy). Later on, there is an (unneeded) catfight btwn Ekberg and another actress- ugh! The standout here is Steiger (looking youngish w/ dark/curly hair); he gets the best lines and is the most interesting (yet potentially volatile) character. Beulah Bondi (mom/grandma in MANY classic films) finally gets out of the house- LOL!

#Noirvember: “One False Move” (1992) starring Bill Paxton, Billy Bob Thornton, Cynda Williams, & Michael Beach

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There was no crime in Star City, Arkansas. No murder. And no fear. Until now. -A tagline for the movie

After a drug rip-off which involves 6 murders, the LAPD are on the hunt for a dangerous trio: a sadistic genius- Pluto (Michael Beach- best known for ER), his volatile former cellmate- Ray (Billy Bob Thornton- also co-wrote the screenplay)- and Ray’s 20ish gf- Fantasia (Cynda Williams). Evidence indicates that these fugitives are headed to the small town of Star City, Arkansas. Detectives Dud Cole (Jim Metzler) and John McFeely (Earl Billings) contact the local Chief of Police- Dale Dixon (Bill Paxton)- then head to Star City to continue their investigation. Dale, an energetic cop/family man, is excited by the chance to participate in a nationwide manhunt.

Can something from 1992 look fresh and unexpected (to modern/jaded eyes)? Every element is firing on ALL cylinders in this (lesser-known) indie film: acting, directing, editing, sound/music, sets/production design, costumes/hair, etc. I kept hearing about how great it was on movie podcasts, so decided to check it out (Amazon Prime). This is NOT a typical action/crime/drama, as it’s more interested in character development. None of the main ensemble is what he/she seems at 1st glance. I was a BIT surprised to see Paxton in a complicated role; he is perfectly cast and able to show his range. Thornton (sporting a few extra lbs. and rat-like ponytail) is an immature/sloppy/volatile villain; his trigger finger is itchy. Beach (pressed/polished) is a calm/calculated villain; he is more dangerous than his partner. Williams (who was married to Thornton: 1990-1992) is NOT the strongest of actors, BUT she does well here, being paired w/ seasoned actors. Like MANY women (incl. women of color), Williams didn’t have much of a career after her 20s. She is also known for her supporting role in Spike Lee’s ‘Mo Better Blues (playing a singer/one of the love interests of Denzel Washington’s character).

The issue of race adds another layer to the story. The director Carl Franklin (a former actor) is a Black man; I 1st heard of him in 1995 (when I saw another great neo noir- Devil in a Blue Dress– starring Washington). The racism depicted in this movie is casual/subtle. The contrast between life/values of the city vs. the small town/country are shown also. For those who want danger, I admit that I was on my the edge of my seat during several scenes. The tension builds… and builds… until the (emotionally powerful) climax! This film was considered “too violent” when it premiered at Sundance; it was produced by a company that makes movies that go direct to video. Luckily, One False Move did get a (limited) big screen release, after critics Roger Ebert and Gene Siskel spoke of its merits. Siskel put this movie as his fave of 1992; Ebert placed it in 2nd place- WOW! Some of you may recall that 1992 was an esp. strong year for movies; these are some titles: A Few Good Men, Damage, Howard’s End, Malcolm X, The Last of the Mohicans, and Unforgiven.

[1] The film starts off quite violently, but once it gets going, the emphasis is on good old fashioned character study.

[2] Franklin has a wonderful way with his camera, only revealing enough for us to fill in the blanks, and often his camera is used as a character POV device, with close ups and cuts blending seamlessly with mood of the story.

[3] The script deals with the themes of the contrast between the country and the city, racism, and the mask that many people wear to hide the complexities of their lives and their past. Somehow, all these themes come together in the most seamless and nuanced manner to enhance the poignancy of the film.

[4] I have seen this movie twice. The first time, for the whole movie I was on the edge of my seat. This was an intense film. From the extremely brutal beginning to the climatic end, I couldn’t relax once.

-Excerpts from IMDb reviews