Polizistenhasser

Very interesting, well done look at the late 1950's in NY, on the streets, in the precinct house. What is so amazing is that you really can tell which actors will end up stars or at least significant players. Charisma is very real and evident here. Robert Loggia is a revelation. I've never seen him so young and yet he is very macho and attractive. The camera loves him and I'll bet that a lot of viewers do as well. A boyish Jerry Orbach is certainly an eye full as well. Recommended as a very interesting exploration of the past that is now just receding beyond easy recollection. Cannot say that the female performers are as memorable but then, one can't have everything but this dishes up quite a lot and the author certainly deserves his subsequent career.

"Cop Hater" is an amazing film. After all, it's a cheap production from Allied Artists featuring complete unknowns at the time---and yet it's one of the best cop films I have seen. The film excels in realism, excitement and great twists--and it's a wonderful film for lovers of noir and those wanting to see future film and TV stars long before they were stars. In the film, you see lots of familiar faces from the 60s, 70s and beyond--such as Ralph Loggia, Gerald O'Laughlin (a VERY familiar face in cop shows), Vince Gardinia, Jerry Orbach and Glenn Cannon (the DA on "Hawaii Five-O"). I can't recommend this film strongly enough.

Because of the title, it's not at all surprising that the film begins with the murder of a cop. This guy is off duty and shot repeatedly in the head with a .45--making the man very, very dead. Who did it and why? There just don't seem to be any leads. Then, when another cop is killed with the same .45, there is the same problem--there just aren't any leads. And, when a third cop is killed, it still isn't a lot clearer. How are they going to solve a crime that just seems so random?! I could say a lot more about the plot, but don't want to give any of it away--just see the movie yourself.

The film is filled with great, realistic acting, wonderful and tough dialog and nice detail when it comes to forensics. It is just written masterfully and it came as a nice surprise. Why the film isn't more famous could only be because it slipped in under the radar when it appeared--with no big names and a paltry budget, it just didn't get noticed. Well, well worth your time.

By the way, there is a deaf character. While she doesn't use a lot of sign language, what she does use I was able to understand--meaning they were real signs. I hated hearing words like 'dummy' in regard to her, but appreciated having a deaf character and one they tried to get right.

Even longtime fans of Ed McBain's evergreen series of police procedurals set in the 87th Precinct may be startled to learn that they started out back in the1950s (and they're still coming). Cop Hater was the first of them to reach the big screen, in a bare-bones production directed by genre-movie veteran William A. Berke.

A heat wave has settled over The City (it's New York, but McBain never identifies it as such), bringing tempers to the flashpoint. An alarm clock wakes a cop for his midnight shift; when he descends into the soupy night, a shot fells him. The entire precinct mobilizes immediately - one of their own has been killed.

We encounter the familiar names of the Precinct's detectives (or some of them), most notably Steve Carella (here, Carelli), played by a young Robert Loggia; he's the bright cop engaged - not yet married - to the beautiful deaf-mute Teddy (Ellen Parker). His partner Maguire (Gerald O'Loughlin) has already tied the knot, but when he tries to keep cool in his undershorts to the whirr of a feeble fan, his wife (Shirley Ballard) brushes him off (`You're wet - oozing wet,' she sniffs).

When a second cop is gunned down in cold blood, attention turns to members of one of the gangs of young punks that were a fixture of post-war New York, but it's a dead end. Next, it's Maguire's turn to meet his very own dead end. Loggia, made indiscreet by too many `splashes' of Scotch to slake his thirst, tells his theories to a callow newspaper reporter and inadvertently puts Teddy in jeopardy....

Cop Hater gets the feel of the grimy streets and cramped apartments of a sweltering urban jungle just right (it also preserves the film debut of Jerry Orbach and very early appearances by Vincent Gardenia and Loggia). The puzzle of the murders may seem a little mechanical (it's a riff on Agatha Christie's The Alphabet Murders), and personalities don't emerge as vividly as we might like. But then this was early in the series, and McBain had only begun to sketch out the quirks of his recurring characters. McBain, of course, is the pseudonym of Evan Hunter (born Salvatore Lombino), who wrote the screenplays for Blackboard Jungle and The Birds. In Cop Hater, his anonymous City takes pride of place.

The early 50's were the era of Jack Webb, police procedure, and the docu-drama, where law enforcement was portrayed in the best possible professional light. After all, there was an emerging Cold War to fight. On the other hand, this late 50's movie, adapted from an Ed McBain novel, is edging away from that ideal toward a more realistic portrayal of policing in a city precinct. Dragnet, it ain't.

Too bad that the result comes across as something of a trashy, exploitation flick because there's a good story with several interesting passages plus a neat twist ending buried beneath the tacky titillation. Someone's knocking off cops for no apparent reason, a psycho the detectives figure. So the heat at the precinct is really on with no real suspects. Nonetheless, much of what follows is pretty muddled and hard to follow. It's not an A-grade adaptation or narrative, to say the least.

The way the cops are portrayed is interesting for the time. They knock people around, drink a lot (maybe on duty), and seem sex-starved much of the rest of the time. In short, the detectives appear not that different from most young American males. Given today's relaxed standards, colorful episodes like rousting a street gang or ogling a nude woman in a towel may seem tame, but in 1958, such scenes were quite daring.

The trouble is that too much of the drama and suspense is sacrificed to a lot of cheesecake scenes, which may have sold tickets but do little to advance the story. Too bad, because the acting from a New York cast comes across as unforced and natural, plus the main characters don't look like typical Hollywood types. Even the girls, though sexy, aren't tinsel town perfect.

With a better structured, less exploitative script, the film could have risen above the drive-in level. As the results stand, however, there's not much beyond an historical interest in the evolution of the cop film. Besides, guys can get more titillation by just switching over to the Playboy channel.

An Above Average B-Movie from the First 87th Precinct Novel from Prolific Author Ed McBain, born Salvatore Lombino, (aka Evan Hunter (The Blackboard Jungle) and at least a half dozen other pseudonyms).

This Late Entry in the Film-Noir/Police Procedural has Elements of Sexploitation.

With an Obvious Effort at Showcasing the Female Form in Sultry and Cute Poses from the Two Female Leads, Ellen Parker, Shirley Ballard. Both Contribute to the Movie's Cutting-Edge Look and Appeal.

The Film, with a Young Robert Loggia Chewing the Scenery in a Volatile Role as the Chief Investigator who Watches Helplessly as His Partner and Colleagues Fall One by One at the Hands of a Murderer who is Targeting "Cops".

The Low-Budget is Enhanced by Surreal Claustrophobic Sets and an Atmosphere of an Oppressing Big City Heat-Wave. The Tone Slowly Reaches the Boiling Point.

There are Outstanding Scenes...the Juvenile Gang Interrogation, the Reporter's Involvement, and the Two Female Roles are given Equal-Time to Make Their Presence More than Known.

The Cast all seem to be Involved and On the Mark.

The Reveal is a Shocker and is more Complex than the Usual B-Movie Stuff.

A Winner that is Languishing on the Fringes off its Ilk, but most People who have Seen it are more than Impressed at its Daring and Direct Take on the Genre.