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Gordon Parks, the prolific black Life magazine photographer, made a true ticking-timebomb of a movie here - one that does not mess around! Based upon the true story of two NYC cops - later dubbed Batman and Robin - who singlehandedly employed radical tactics to clean up their precinct neighborhood of drugs, this is a cop-buddy movie before that term became a repetitive formula. Lightning paced, there is not one unimportant throwaway scene here.

Man, early '70s NYC must have been a terrible place to be a police officer, from the looks of movies like this and "Serpico." These two cops start out as safety-division rookies, busting dealers in plainclothes in their spare time. But instead of receiving applause from the city police department, they receive nothing but resistance and antagonism from their peers. They have to singlehandedly navigate a minefield of police and legal corruption, boneheaded assignments meant to keep them from their work on the streets, ruthless drug kingpins, and a nasty ghetto neighborhood.

Both David Selby and Ron Leibman are fantastic in the leads; part of the entertainment is watching Leibman's eyes darting around crazily in every scene in what is a flawless comic performance, and Selby's acting is low-key and wry. These two make all the comedy aspects of the story work - displaying a palpable frustration mixed with gutsy determination. Director Parks, who was already known for his coverage of controversial subjects in his photography, does not shy away from the grittiness of the story. Rather, the movie is uncompromising in portrayal of the toughness of the world of police and streets criminals that these two men inhabit. Adding to this realism is the fact that the real Hantz and Greenberg acted as technical advisors for the film, and even appear in surreal cameo roles as two fellow officers who ridicule the protagonists. It is a real tribute to the effectiveness of Parks' direction that he manages to perfectly balance this depressing mileu with bright comedy.

Director Gordon Parks' excellent buddy-cop corruption comedy, with a cast of great genre and character actors - this seems most often compared to Serpico, Dirty Harry and The French Connection from what little I could find on it. But really, it bears more resemblance to The New Centurions and earlier blaxploitation classics in terms of comic tone, racial politics and groovy yet tough protagonists. Curiously, there is a brief but enjoyable gunfight and chase through a building under demolition, making me involuntarily compare scenes and buddy mechanics with Starrett's The Gravy Train of the same year.

Funny that it concerns a couple of unconventional cops nicknamed Batman and Robin, given that the screenwriter worked on the '60s series. Also, the presence of bulldog-eyed genre fave Pat Hingle, who would go on to repeatedly play Commissioner Gordon.

Frazier has great inter-racial sexual tension with the also funny Leibman, and her scream session suggests that she could have had a terrific career in horror. Maybe now that this is getting screened at the New Bev in L.A. by Edgar Wright, one hopes that we could eventually see it surface from MGM for an HD broadcast.

This is based on the true story of two rookie NYC cops whose exploits earned them the nicknames "Batman" and "Robin" in the 70s. Ron Leibman stars as David Greenberg (Batman) and David Selby stars as Robert Hantz (Robin). These two rock the boat right away by making drug arrests on their days off. Naturally, this doesn't sit well with the other crooked cops who don't like to be made to look bad. The duo find themselves in all sorts of scenarios from stopping hit men out to kill them (true story) to beating up a purse snatcher who turns out to be a high ranking cop (not so true story). Directed by Gordon Parks and written by Lorenzo Semple Jr., THE SUPER COPS never really finds the right footing. With hard hitting cop dramas like DIRTY HARRY, THE FRENCH CONNECTION and SERPICO coming out in the previous years, it is kinda hard to imagine how audiences reacted to this. The cops are played as goofballs with Ron Liebman, a dead ringer for John Astin, being truly annoying. At the same time, there is some hard hitting stuff about corrupt police and the system. Interestingly, the film opens with footage of the two real cops receiving commendations from a character portray as crooked (by Pat Hingle) in the film. Even more interesting, the two cops apparently both fell on the wrong side of the law several years after this film was made.

The 60's loosened up movies a lot. It became okay, for example, to show crooked cops and real poverty. Older Hollywood in its preoccupation with glamour and the Cold War naturally shied away from such inflammatory topics. But the cultural revolt of the Vietnam period insisted on "telling it like it is", and I take this movie to be one of its products.

Greenberg (Leibman) and Hantz (Selby) are a couple of rookie cop hotshots who rock the precinct boat with their zeal and unorthodox style. Too bad we never learn what in their backgrounds drives them. Instead, the movie follows them on their exploits without explaining much of anything. It's kind of like watching a collection of sports highlights without the developmental threads of a narrative.

Still, the movie never drags or bores, plus the gritty shots of ghetto life are worth the admission price alone. Then too, the screenplay sure doesn't glamorize either the typical cop or precinct life generally. The "feel" here is of the real thing, one of the film's genuine strengths.

Unlike most films, however, none of the movie's characters are particularly likable. In fact, I agree with the reviewer who found the quirky Greenberg annoying, while the subdued Hantz remains something of a cypher. Now, there's nothing inherently wrong with this, except by the end, the two appear just the same as they were at the beginning. In short, all the murder, mayhem and human misery have affected them not at all, one way or the other.

All in all, the movie's an okay entry in the post-Serpico sweepstakes. Yet, despite its down-and-dirty look at urban policing, the story never manages any needed depth, despite the richness of the material.

"The Super Cops" was surprisingly rare on video for a long time, and my first exposure of it was a grey-market copy of the 1982 MGM release on videotape. Allegedly available on laserdisc, also note there was a Super Cops comic book also released at the time. I just received what seems to be a legal release of this film on DVD, from New Star Video. It's still relatively hard to find, but the DVD features a slightly cleaner version of the print that I had previously. The colors in the film are passable, but this film would look far better if it were cleaned up. The DVD features above average cast bios/filmographies of Leibman and, but all in all is a pretty slim packaging. This is the third directoral outing of Gordon Parks, famed photojournalist/renaissance man best known for "Shaft" and "The Learning Tree." It's not his filmic acme, but one would hope that it might become available again as Parks' genius has not yet been fully celebrated.

This film lacks the vitality and edge of "Shaft", something that must have been a budget issue. Nonetheless, it's quick, good-hearted police action based on the L.H. Whittemore book of the same title. Whereas the book covered the late 60's/early 70's NYC crime scene very well, the film comes only halfway in detailing the true story depicted here. The plot is somewhat disjointed, with choppy arrest and pursuit scenes that do not build upon each other. By the end of the movie, one still has the interest in the characters, but no clue exactly how much they've endured. Still, it's a fun ride and good visually if one is familiar with the book. At best, a solid document of the time- a good cop story if nothing more.

The underrated Ron Liebman is excellent in one of the lead roles, cocky and enthusiastic. David Selby is more refined and cool, and many of the police superiors are great as gruff, cranky New York types. This story is begging for another attempt, with more detail and character development. But without the superb 70's environment and post-Serpico interest in police flicks, would it float?

A friend of mine to whom I screened the movie years ago met the great Gordon Parks a few years before Parks' death. He reports that upon mention of The Super Cops, Parks immediately responded, "I like that one!! ...but Shaft was better."