The Super Cops

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.

This film has slipped through the cracks of film history. It is by far much better than some other New York films of the same era such as: "The French Connection" or "The Taking of Pelham 1-2-3". There is a gritty reality to this film which also manages to effectively use humor to further the plot line. It's engaging from start to finish and hasn't tarnished with age as is the case with the above two examples.

Ron Liebman turns in a bravura performance as "Batman" and it's a shame his career didn't take off as a result of this project.

Gordon Parks directs and, coming as it does after "Shaft", it at first appears to be a strange choice. Yet it is the flip side of that earlier effort and approached with just as much in your face machismo.

Unfortunately this film has not been made available on either DVD or VHS in the United States. United Artists really has a gem on their hands and it's a shame they're not doing anything with it.

Glad to finally enjoy this movie for the first time uncut and unedited. I must have seen this right after it came to television in the mid-70s; one of my favorite movies when I was a kid. This may have been the first Rob Leibman movie I ever saw. I just wanted to note, one thing that gave me pause when I was younger was that the Pat Corley scenes were odd, something didn't seem right. Knowing him now as the actor famous for his gravely voice it appears to be that they replaced his recorded dialog with a voiceover. Interesting choice, kind of like putting Fran Drescher in a production and dubbing her with Sarah Jessica Parker.

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.

"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."