Dead bang - A colpo sicuro

14. DEAD BANG (action, 1989) Det. Beck (Don Johnson) is an LA cop whose life is falling to pieces. His wife has just left and his hitting the bottle again. Assigned to a cop killing that seems routine, Beck sees his chance at redemption by immersing himself in the case. The murder has ties to a ruthless and tightly controlled Neo-Nazi sect. He starts a cross-country chase that inevitably leads him to rural America. With the help of an FBI agent, Beck is intent on exposing a network of ruthless criminals.

Critique: "An exercise in futility", that's how one critic summed up Don Johnson's acting. With a squeaky voice, boyish looks, and sparse acting (plus an endless array of 'cool' wardrobes), he became something of a cult favorite playing Det. Stubbs in the hit TV-show Miami Vice (1984-89). Since the end of that show, his movie career has been a total loss. . .well, almost.

At least he can look back proudly on his work in John Frankenheimer's 'Dead Bang': A slick, old style, slam-bang action film. Taking his Stubbs character to new heights (or lows for that matter) he plays the consummate 'burn-out cop'. He has been given a solid script to work from, professional direction by old-hand Frankenheimer, and a good supporting cast including John Forsythe as his FBI partner.

Supposedly based on the real life experiences of LA Det. Jerry Beck, this is Johnson's only film where he proved to be more than "an exercise in futility".

QUOTE: "I got a splitting' headache, I'm seeing double and. . .s#!t! I think I'm gonna throw up again."

There's a specific brand of cop in film and on TV that apparently appeals to audiences. Typically, he's alienated from his family because he's too dedicated to his job and consumes too much of his time doing it and not enough with them. Or debasing brutality has taken too big a chunk out of his consciousness for him to frequent the society of women and children. Generally, he eats three meals of pizza or Chinese and drinks like a fish. The company he keeps does nothing for his lexicon. And the first thing everybody tells him is that he looks terrible. In Dead Bang, Don Johnson plays this classic brand of cop, to a tee.

Has anyone ever made a movie about a good cop who is neurotically orderly? The one perhaps determining stroke contributed by Dead Bang is a scene in which the inebriated investigator heaves onto a suspect. His name is Beck and on Christmas Eve he's designated to probe the murder of another LA cop. He produces the name of a freshly paroled offender apparently affiliated with a disheveled band of white supremacists.

There are a few rows and gunfights, and a Fed overplayed by William Forsythe imposes himself. Also, due to his wreckless ways, which appear somewhat restrained relative to that of most movie cops, Beck is ordered by the chief to obtain permission from a police shrink or be removed from the case. However since Michael Jeter's counselor resembles Woody Allen, Beck breaks up and the doctor grows annoyed and the opportunity of remaining on the case seems remote, that is till Beck has a very unclinical, clear-cut and inhospitable talk with the slightly built fellow.

Near the beginning, there's an unwanted detour in which Beck beds Penelope Ann Miller who, unbeknownst to him, was the wife of the murdered cop. But when he faces her with the information, that's all and she never appears again. From then on out it's all boys, and there is some inexplicably evocative dialogue in which Beck and his contemporaries talk about "going through doors" together. Beck says there's only one thing that counts: Is there anyone who'd be afraid to go through a door with him? And later, his police chief replies, "I want you to know that I'd go through a door with you anytime." Johnson's eyes look aloof, but he's got some presence here, doing the work and really deriving something appealing out of the formula. As the burdensome G-man, Forsythe is the essence of trivial-mindedness. At one point, he looks at a shivering Beck with gravitas and says, "You didn't bring a cold-weather coat? What's wrong with you?" Also, Bob Balaban, as a whipped parole officer, and Tim Reid, as a local police chief, give their roles some punch.

However, what the audience sees, actually, are a couple of white-supremacist psychopaths with a fixation on racial purity and homemade apple tarts. Their main advocates are a handful of dim-witted Hell's Angels sorts who, when they need funds, raid the Mexican bar right next door, kill everyone in it and then are astonished when the authorities appear. John Frankenheimer's control is tight enough but quite mechanical: He sustains the action but doesn't furnish much character. Then again, Robert Foster's script is speckled with crumbs of peculiarity, practically all of them minor. Frankenheimer, the director of three of the most sharply honed and deeply affecting conspiracy movies ever made, is also responsible for some of the more negligible.

John Frankenheimer really outdid himself when he directed this film. What an accomplishment from the director of Birdman Of Alcatraz, The Manchurian Candidate, Seven Days In May, The Train and Black Sunday. Imagine a scene showing the films hero throwing up all over someone! What innovative filmaking. Seriously this is a typical cop thriller. Without the foul words it could have been an episode of Miami Vice. Don Johnson plays an alcoholic, down on his luck, loose cannon on the deck cop chasing white supremists through the Southwest. Johnson is an intense hero even if he isn't likeable in some ways. Theres a wonderful scene where he throws a fit after talking to his ex-wife. Theres a good foot chase involving several car accidents as well. My favorite part though is the one where he threatens the police shrink he compares to Woody Allen. I can understand why they never made Dead Bang 2 but this film is still worth your time if you like cop thrillers.

I shied away from this film initially, due to its low IMDB rating at the time, but I was very pleasantly surprised. It's based on actual events, yet the story has all the right elements of a great action film. Don Johnson's LA cop is up against tremendous odds, a renegade, a drunk, lonely, and yet an entirely likeable character. Whether you like Johnson (the actor), or Frankenheimer (the director), or action films (the genre) in general, give this film a chance. It's almost perfect. Completely underrated by the scoring on this site.

7.5 out of 10

This movie plays like a typical good detective novel. Except for the hero every character is totally one dimensional and the well written story doesn't really deliver any big surprises. This being said, this film delivers decent acting, a compelling plot, and polished Hollywood production value. Frankenheimer definitely knows his way around the genre and he gets the most of Don Johnson's much-maligned acting chops by casting him in a role which perfectly suits Johnson's trademark 'maverick' cop character.