Police connection

In the early 70s, and for a brief period, it was a popular trend in US action cinema to bring real-life and middle-class American heroes to the podium. These everyday heroes were usually actual policeman that wrote their life experiences down in a novel or into a screenplay and were then hired as technical consults for the film adaptations. The best-known example is probably Buford Pusser and the "Walking Tall" films, but also a couple of highly acclaimed blockbusters are based on observations of real street cops. There's "The New Centurions" by former LAPD Officer Joseph Wambaugh, and even the legendary Popeye Doyle character from "The French Connection" is inspired by an authentic rogue copper named Eddie Egan.

"Badge 373" can be included in the same list. Robert Duvall's character is based on this same Eddie Egan, the entire film is promoted as "based on the exploits of Eddie Egan", and the man himself appears in a supportive role and worked as technical advisor. And yet, it's plain obvious to see when the films mentioned in the first paragraph are considered great classics, whereas hardly anyone has ever heard of "Badge 373".

Apart from another stellar performance by the always-reliable Duvall, this is a dull and derivative New York action/thriller, badly suffering from all the dreadful clichés in the book (suspended cop, avenging the dead partner, corruption in the department, wife killed, politics involved, etc.) and showcasing a very racist attitude towards the Hispanic - notably Puerto Rican - community living in NY. Allegedly, Robert Duval accepted the role as a statement against racism, but it's very well possible that he played the role to finally get the first top-billing of his career.

"Badge 373" is too long, too predictable, and too full of pointless and overlong sequences, like when Eddie takes his wife to a cabin outside of New York for a retreat. The few action and spectacle sequences, like the bus chase footage, are okay - I guess - but at the other side of the Atlantic Ocean, in Italy, they handled this sort of stunt work a lot better and more exciting.

In a film about a man who's in the film playing the best friend of himself, it's an unashamedly affectionate apology for life and antics of Mr French Connection Eddie Egan. In fact the portrayal of the man himself by the man himself played in front of him becomes so uncomfortably assertive I started to feel like I should leave the room, that perhaps the movie would rather be on its own.

Still with all that love on show it should come as no surprise it's a racist, sexist and somewhat tedious police procedural with its morality clasped somewhat firmly (ahem) with Duvall's contempt with everyone and everything that's not Cop and meting out punishment for being less mortally challenged than his God-spot.

While the aforementioned TFC was an prescient existential nightmare about the USA's damaged ego and rightly lauded, Badge presents a throwback to Fritz Lang's The Big Heat when one man can make a difference like a proto John McLean without the wisecracks, and was justly ignored as fable.

This is nowhere near as good as "The French Connection" by a long, long way. "Badge 373" is just business as usual, with nothing to commend it. Robert Duvall is given the lead for a change in his thinly-veiled portrayal of real life cop, Eddie Egan. Gene Hackman brought a great deal of depth and personality to his character of Popeye Doyle. Duvall wasn't able to do the same here. The plot is dull and predictable.

I really tried to like this movie. In fact, I was excited to get it for a number of reasons: Robert Duvall, an Eddie Egan vehicle, and it being an early 1970's cop movie filmed in New York City. Many of the things I like. But I was sorely disappointed. I just don't follow the attraction to this film. In the wake of such Seventies superstar films like 'Dirty Harry', 'The French Connection', and 'Shaft' among others ('The Seven-Ups' is a great example of a lesser known film but equally as exciting), 'Badge 373' is a slow-moving, poorly acted, long, uninspiring, and less than memorable movie which surprisingly detours half-way through. Duvall is at best fair and Egan is painful in watching him deliver his robotic lines. Direction by Howard Koch is unimaginative and dark in many areas. A fairly exciting chase sequence involving a NYC transit bus along with a decent performance by Verna Bloom as Duvall's long suffering girlfriend, some noticeable non-PC slurs and a decent aerial view of lower Manhattan gives this movie its only credibility.

"When a man's partner is killed...You're supposed to do something about it"...Sam Spade..."The Maltese Falcon"

Do Something Duvall Does.

It Takes the Defrocked Cop to the Underbelly of the Puerto Rican Community in New York City that is Rife with Talk of Revolution in the Homeland.

Robert Duvall, in His First Starring Role, is a Powerhouse of Politically Incorrect Racist Rants and Fearless Behavior as He Bulldozes through Crime Gangs and Crime Lords.

It's a Dour Movie that Strips Away any Pretension of Police Hero-Worship.

A Movie so Bleak and Uncomfortable that it was Pummeled even on its Release-Date as so Offensive, in 1973, that Few Found it anything but Deplorable.

Viewed Today, it is Curious bit of Moviedom that Marks its Territory with Brutal, Unlikeable Human-Beings.

Be it Cop or Thug.

That Makes the Movie a Cringe-Fest of Unfettered, Unpleasant , Post-Code "New Hollywood".

There is a Second-Act Chase Scene, Featuring a Public Transit Bus, Full of Terrified Passengers.

The Ex-Cop Exploits it for Personal Satisfaction with No Regard for the Innocent Lives.

He, seemingly, is so UN-Aware that He Giggles with Glee.

This Makes the Movie more of a Cartoon than a Gritty Neo-Noir.

There are Other Things that are Over-the-Top.

Like the Comic-Book Villain with a Huge In-Your-Face Mustache and Sunglasses.

This is a Guilty-Pleasure at Best.

Watching Duvall and All Taking the Zeitgeist of the Crime Film Renaissance and Going So Far as to be Ridiculous.