Der Detektiv

This is a surprisingly effective movie. I had never been a great fan of Frank Sinatra, but he is very good in the role of the ambitious, hard-bitten, but troubled Detective. The movie tackles some pretty unusual issues for those days, homosexuality and sexual dysfunction.

There is no question that the interrogation scene between Frank Sinatra's Detective, and Tony Musante's homosexual character was cringe-inducing ridiculous, and terribly stereotyped. I suppose, in those days, this was the best Hollywood could do. I give them credit for at least making the attempt.

Frank Sinatra plays a Detective who is given a sought-after promotion due to his coercion of a confession from a terribly guilt-ridden homosexual. Later, Frank fully realizes what he has done, and tries to set things right by re-investigating the case, and putting the right man behind bars. Frank shows some surprising range in portraying the moral ambiguities that run through this man. All this, while trying to hold the fragile sexual nature of his relationship with Lee Remick together.

This movie dealt with some pretty ugly homophobia, and adult sexual issues in ways not seen too often in 1968.

Robert Duvall had an early role as one of the squad Detectives.

Forty years on, it's all too easy to pick holes in the naïve depiction of gays in this movie. Given its otherwise honest and sometimes brutal portrayal, I'm quite sure it was dictated, at least in part, by what the producers thought could be shown without alienating the majority who might watch.

Aforementioned aside, this is a gritty, adult story of an intelligent, upright cop battling marriage problems and a sleazy murder, in addition to the bigots and small minds in his own department.

Frank Sinatra, in one of his best roles, plays the world-weary lead with deceptive ease, ably backed by a good script and fine supporting cast, including Lee Remick (one of my favourite actresses) as his soon-to-be ex-wife, battling problems of her own, dealt with in flashbacks (again, probably simplistically, but at least with some style and intelligence); and Lloyd Bochner as the doctor with the high-price clientele and secrets he'd rather not share. Not to mention an outstanding (and sadly forgotten) theme by Jerry Goldsmith.

Yes, it's very sixties, but it's *good* sixties; and in the best traditions of film noir too. All in all, it reminds me of a quote from Lee Remick herself: "I make movies for grownups. When Hollywood starts making them again, I'll start acting in them again".

Amen.

Made at a time when the cinema was exploring new freedoms in language, violence and sex, this is a somewhat tough character study which is tame now, but had to be pretty gritty then. Sinatra is the title cop, a man who bucks the system at times, but has an innate core of fairness. When a wealthy homosexual is found slain and mutilated, Sinatra and his partner Freeman set out to find the culprit. Meanwhile, Sinatra reflects on his troubled marriage to sophisticated, but oversexed Remick. He arrests thuggish Musante for the crime and wins a promotion for his trouble, but, soon after, a young woman (Bisset) comes forth with a case that may be tied into the original one. Sinatra gives an assured and believable performance, though it is jarring at first to hear him bandying about terms like "penis" and "queer", etc... Remick is attractive and effortlessly sophisticated as his wife who can't seem to keep her knickers on. The supporting cast is made up of great pros who offer a lot. Meeker is a jaded, slimy fellow detective. Klugman does well as a family man cop who helps Sinatra crack cases. Duvall is menacing as a hard-nosed and prejudicial policeman. Musante is so over-the-top it is unbelievable! His interrogation scene is a lesson in extremes (and helped sideline his US career for a while.) Bisset is lovely, as usual, but was shoehorned in (costumes and all!) at the eleventh hour for Sinatra's estranged wife Mia Farrow and the part doesn't fit her as well. She's meant to be a slightly boyish type and that's a tad easier to do on Farrow than it was on Bisset. Bochner is a little too cartoon-campy as a vaguely sinister psychiatrist. Though today's audience will likely find many things to pick apart with the story, it is nonetheless a fascinating glimpse into what Hollywood's depiction of gays was at the time. One unintentionally funny scene involves a dockside parking lot in which scores of gay men crowd into the back of cargo trucks and snuggle - fully clothed! There's also a groovy trip into a velvety gay bar. The film's chief flaws are its overuse of LENGTHY flashbacks and a hugely distracting habit of having Sinatra and Remick deliver lines directly into the camera, a big no-no except in comedies or quirky dramas. The flashbacks are necessary in order to flush out the romantic story, but they tend to be disjointed and overlong. The issue of speaking to the camera could have been easily solved by just having the actors act opposite each other. This was an experiment that just doesn't work. But the film has a fair share of interesting dialogue, situations and visual appeal. One amusing line has a forensic specialist telling Sinatra that the victim was a homosexual. Sinatra looks around the overdone apartment and says, "Looks like he was a leader!" Moss Mabry got quite a workout coming up with outfits for Remick, less so for Bisset.

This film is based on allegedly real deeds and adapted on novel by Roderick Thorpe and written credits by prestigious Abby Mann. It concerns about a N.Y. detective called Leland(Frank Sinatra) , he investigates the mutilation killing of a homosexual man. Leland encounters police and political corruption. Meanwhile, he has problems with his nymphomaniac spouse(Lee Remick).

This is a fine noir film blending drama, suspense, thrills and excellent performances. This film displays strong scenes with gritty description of homosexuality and police brutality included. Casting is frankly awesome, as main cast, Sinatra and Remick, as secondary support, Ralph Meeker, Jack Klugman, William Windom, Al Freeman, Robert Duvall, Jacqueline Bisset and special mention for Tony Musante as tortured homosexual. Splendid and atmospheric musical score by the master Jerry Goldsmith. Colorful and appropriate cinematography by Joseph Biroc. The motion picture is superbly constructed by Gordon Douglas. This is the best work of his long career as filmmaker. He was a Hollywood veteran director, directing early movies(Little rascals, Spanky), Western expert(Chuka,Rio Conchos, Yellowstone Kelly, Only the valiant), and worked for Frank Sinatra in various films(Lady in Cement, Tony Rome, Robin and the 7 Hoods). Rating : Better than average, this is a high-class adult entertainment and to be liked Frank Sinatra fans.

A surprisingly subversive film, detailing a "rainbow" of conspiracies that affect all aspects of urban sixties society. The homosexual "other," along with the mysogynistic undercurrent of testosterone-controlled society is played to powerfully ironic and symbolic effect, from the closeted bisexuality of the mysterious spouse of Jaqueline Bissett, to the triumphantly cynical reasoning of the lone "colored" Detective who strips his suspect as a paean to Nazi interrogation tactics ( many Nazis were avowed closeted homosexuals). The establishment is skewered for "not facing responsibility" as Det. Joe would say. Slums, inadequate housing, homophobia, the death penalty ( the last execution in New York had taken place five years prior to the movie's release), marital infidelity, mental illness, political patronage, police corruption, and establishment hypocrisy ( "rainbow"-- come on, how blatant!)are all taken on by the man with old-fashioned, starch-shirted integrity. Thank God for "The Detective."