Les flics ne dorment pas la nuit

Roy Fehler (Stacy Keach), Gus Plebesly (Scott Wilson), and Sergio Duran (Erik Estrada) are rookie police patrolmen. Roy hopes to become a lawyer and his police work inevitably causes friction with his wife Dorothy (Jane Alexander). He's paired with experienced cop Andy Kilvinski (George C. Scott) who expounds his Kilvinski's Law on the tough streets of LA. Gus is by-the-book with 3 kids. He's paired with Whitey (Clifton James) and accidentally kills an unarmed man.

This is episodic in nature and is more TV than cinema. It fits a lot better as an ongoing TV show. It has a fun early moment of a fake impromptu divorce of a battling drunken couple. It's sardonic and crass. George C. Scott is operating at the top of his game. His performance fills his scenes. This would work better as a movie if it has a definitive central case or villain or incident. This is the opposite of slick. I can certainly see many later TV cop shows using this movie as a template.

I recently bought the Season One DVD set for "Police Story"--the cop show from the 70s that was inspired by Joseph Wambaugh's film "The New Centurions". So far, I've really enjoyed "Police Story"--and am sad that only the first season is on DVD. So, in consolation, I decided to at least see "The New Centurions".

Like "Police Story", "The New Centurions" does not whitewash police work. The language is very earthy, to say the least--especially since it didn't need to worry about television audiences and was rated R. It shows the interesting side as well as the downside--and all through the perspective of a rookie cop, Fehler (Stacy Keach), as you follow his through the years. There is a HUGE price to pay for loving a job like this--as his marriage falls apart and he pretty much gives his life for the department.

I have noticed that other reviewers talk about Fehler's partner, Kilvinski (George C. Scott). He was a HUGE presence in the film, though he's only in about half the film. Apart from that, Fehler had other partners and a variety of experiences that all pushed him almost over the edge. Dealing with drinking, PTSD and more is what makes this cop film quite unusual--and well worth your time. Exceptionally well made and a film that revels in NOT being like cop films of the 30s, 40s and 50s!! Exceptional acting and writing make this a standout film.

Wanting a better life for his family, Keach enlists with the LAPD to supplement his wife's meagre income while he attends law school. But the job soon becomes all consuming leading to the breakdown of his marriage to Alexander whose support wanes in the face of constant neglect playing second fiddle to the force. In turn, Keach loses touch with reality whereby he questions his motivations for remaining in situ, but the job compels him to endure. After a litany of setbacks, alcoholic and facing ruin, he's briefly resurrected by Cash, taking pity on his misguided loyalty, and helping him to re-discover the purpose he once idealised. Rich, rewarding tale of an everyday struggle is told in a rather grim but entertaining fashion by accomplished director Fleischer.

Despite solid performances from Keach and Alexander in particular, this is George C.Scott's movie, as the maverick older statesman with nothing but the badge to define his identity. His character is a scene stealer, and is at times, fierce, frightening, benevolent and ultimately, very bleak. The highly emotional scene in which Scott telephones Keach and relays the metaphor of the old man and his burglar, resonates throughout the remainder of the film, and beyond.

There's not the synergism that you'd expect and if it weren't for the distinction that Scott, Alexander and Wilson as the modest rookie, each bring to their respective characterisations, "The New Centurions" would be just another police story, and this is evidenced to a degree when their characters are no longer in focus. A very capable and vast supporting cast bring a gritty reality, and the story ebbs and flows toward a sudden and unexpected climax. The anguish experienced by the characters is palpable, and every time the mood brightens, there's another catastrophe waiting. Probably not the movie to watch before joining the academy, but highly entertaining and thought-provoking nonetheless.

Stacy Keach and George C. Scott star in this very gritty, very honest portrayal of early-70s police life. It's directed by Richard Fleischer, who usually worked on much flashier material than this. I've seen a lot of films that dug in and tried to paint a clear image of police life, but this story brings a level of realism that is somewhat missing in most cases - it was written by a cop (Joseph Wambaugh).

"The New Centurions" is a title that hints at a much deeper perspective into familiar territory. Even though all the suspected clichés are still somewhat in place, they're there out of reality rather than just filling space in a movie plot. George C. Scott's character is on his way to retirement, but instead of him not making it, he takes a much darker path. It's that darker path, and the sense of hope behind it, that informs both Scott and Keach in their fantastic performances. They're as good as they'd ever been here - deep, powerful, and incredibly personal. There's a real emotional vulnerability on display that can't be denied.

Good little film, about the ins & outs of a group of cops in LA in the early 70's. Good eye for detail, and another fine performance by George C. Scott. This guy was on a roll back then. Having finished up the 60's w/ "Petulia", then "Patton", followed by the excellent gem "The Hospital", it was almost a couldn't miss. True to life depiction, bogged down just a bit by melodrama & cliche'-ridden script. Stacy Keach fine in this as well.