Tentação Perigosa

Directed by Sondra Locke this is a gritty story of an Los Angeles femme fatale vice cop Lottie Mason (Theresa Russell) and her "Walk On The Wild Side" of cusp of Noir. It is a dance with with death, love, power and temptation. It's probably one of the Last of the Warner Brothers Noirs.

A piano riff dissolves the blackness into an elevated view of a sleazy Hollywood, hot sheet motel block, at the corner of Las Palmas and Sunset Blvd., one of those all look alike City of Angels low profile strips. Time the late '80s, Madonna is in vogue. The scene is accented by wet pavement reflecting neon. A long ringletted blonde "angel" is strutting her stuff in tight gold Lamé snakeskins, but this celestial Femme Fatale has clipped wings. She's trolling the midnight drift, a lure with hooks. Lonely sad losers cruise the mainstem scoping the fast skirts that will get them a shot at 20 minutes of ecstasy. The opening title sequence displays the workings of the vice stakeout with the excellent noir-ish stylistic cinematography of Dean Semler. The piano riff repeats and become a leitmotif for Lottie's darkside.

Impulse is set strictly in Squaresville, it's a story of the world of hard working cops doing their everyday busts. Lottie's night in and night out tolling the low company is affecting her personal life. Her various Vice assignments, i.e., impersonating a streetwalker, a junkie, a B-girl hooker, a drug dealer has her visiting the division PR office and the psychiatrist/counselor on a regular basis for an hour session mandated by Internal Affairs. They want to know if having to lie and deceive on a regular basis is affecting her job. Her Doctor, Dr. Gardner seems more interested in her personal life her debts and her love life. Lottie when questioned about her torpedoed relationships states that she's only been with cops and she rattles off squads, Vice, Homicide, and Bunco rather than names. Gardener asks about Lottie's quasi-stalker encounter with Lt. Joe Morgan (George Dzundza) an ex boyfriend that she didn't report. Lottie says it's because he'd say she encouraged it. But Lottie makes a confession that she is mainlining on the power of her femininity while staring at her reflection in the window in a great sequence:

Another assignment has Lottie going undercover as a heroin junkie in a shooting gallery, this combined with a second storyline concerning a 2 year old case, a witness protection program witness and a double cross drug deal in NYC brings a District Attorney named Stan (Jeff Fahey) into Lottie's world. Stan is attracted to her and they have an affair though Lottie is still a bit standoffish a bit gun-shy.

After an adrenaline rush chase down a high-rise and shootout with two drug trafficking perps in a grocery, Lottie is on stressed and on edge, Stan tries to comfort her but she wants him to back off and give her space. She takes off in her Camaro to unwind. She gets a flat tire drives into a service station and while the tire is changed drops into the bar across the street and into Noirsville.

At the bar she's picked up by Tony Peron (Shawn Elliott) who is coincidentally and unbeknownst to Lottie, the drug dealer partner of the man Stan has in witness protection. He asks her if there was anything in the world she could do what would it be. Lottie tells him "I'd get on a plane and go somewhere I'd never been". Tony pulls out a deck of hundred dollar bills and counts off ten, Lottie tells him she wants to go "first class". Tony adds another five, but tells her that first she'll have to go to his house. On impulse Lottie picks up the dough and follows him out to his Beverly Estates house.

When Tony gets her to his place he begins to get busy with it. Lottie holds him off telling him she wants to freshen up. Tony tells her to use the upstairs bedroom bath. Lottie has second thoughts as she stands by vertical blinds in a nice sequence. Afterwards while washing her face she hears two gunshots, and peering down the stairway spots Tony dead on the tile floor. The shooter is actively searching the house. Since her gun was confiscated after the recent shooting Lottie scrambles to hide from the killer.

The shooter leaves the house and Lottie checks out Tony popped twice in the head. She goes through his clothes finding a locker key in his jacket. She wipes down all the surfaces she touched calls the cops disguising her voice and splits. At the airport the next day she opens the locker and finds a suitcase with close to a million dollars.

Sondra Locke did a wonderful job at directing this little Neo Noir gem. The writing by John DeMarco and Leigh Chapman, is competent and consequently the characters are very well developed. This is Theresa Russell's best performance. The rest of the cast are Jeff Fahey as Stan, George Dzundza as Lt. Joe Morgan, Lynne Thigpen as Dr. Gardner, and Shawn Elliott as Tony Peron. The music by Michel Colombier is great along with the various pieces that comprise the soundtrack. Again I can't say enough about the Noir stylistic cinematography which is excellent.

Why can't all movies have the mood of films like this? What do I mean about mood? I'm talking about the feeling that you are somehow thrust into the world created by the film's story...you are there, witness to the action and the drama. Other films that exhibit this charactersitc are 'body heat', 'hot spot', and various other film noir and independent films. I'm not saying this film is either, but it has the spirit of films like that.

Russell carries the film with a very gritty performance that is just incredible to behold. She is completely believable as the sexy cool, street smart but soft spoken cop. I really, really like the way she totally immersed herself into this character. She was totally convincing! To me, anyway. I liked how she didn't have to say anything at all in certain scenes yet her facial expressions said so much about what she was thinking. Her character is really the hub that the story spins around. True, some elements of the film rely too much on the standard, stock and trade cop related drama and action film, but the parts that don't really elevate this film above the status quo.

I can' recommend this film enough. The ending let me down a little but overall, wow...what an unusual, surprisingly good film. Russell is simply heavenly in this role. Who directed it is perhaps even more of a surprise.

After 'Ratboy (1986)', Sondra Locke would hone down her directorial skills with the vastly overlooked cop thriller 'Impulse'. The voluptuously headstrong Theresa Russell (who doesn't get enough recognition as it is) proves the talent she bestows, as the film asks for a vividly intriguing performance. And she provides a breakaway one as an undercover cop of the Vice squad. Not forgetting Jeff Fahey's outstandingly low-key turn in what could be seen as a breakthrough performance as an assistant district attorney. Along with Locke's moodily terse and measured direction that just takes you into that smoking film-noir ambiance; Russell and Fahey's performances are also the potent backbone to the appeal of the film. Where the film has its share of flaws comes mainly from the dramatically cluttered material, as it's story-bound rather than action-filled. It follows Russell's character as she pins perverts and drug peddlers, but soon she becomes so attached with the power play of the job that the impulsive fantasy of losing control and experiencing criminal temptation becomes overwhelming. The choice is there, and her repressed emotions are starting to crack and anxiety creeps in. Another element thrown into the mixture is the growing affection between Russell and Fahey's characters. This leads onto a complex (and where it hit's a bump is the somewhat implausible developments infesting its way within this) web of psychological, harrowing and heart-racing avenues, plus intensely raw thrills. Characters are actually well-rounded and show what makes them tick with some brooding shades showing. The technical side is professionally catered for with Michel Colombier's seductively sizzling, but at times jarring music score, sullen lighting tinges evoke presence, relaxed pacing and it's gorgeously shot with the Los Angeles backdrop painting a lasting mark. The support cast features capable turns by George Dzundza, Alan Rosenberg, Shawn Elliott and Eli Danker. A really surprisingly tight, mature and stylish thriller by Sandra Locke, but its Theresa Russell's powerfully stimulating performance that stays with you.

In "Impulse" a female undercover cop (Russell) stings johns, gets involved with a drug bust, and...yada yada yada. A typical and ordinary Hollywood crime genre product with Russell and Fahey sharing the spotlight, "Impulse" is a par flick, shot entirely in and around L.A., with the usual ugly bad guys, macho cops, chases, shootouts, etc. with the emphasis on drama over action. Nothing new here. Best enjoyed with your favorite beverage and munchies.

A female undercover cop, overworked, exhausted and ready for a break, gets seduced one night into a short walk on the wild side, but it may prove to be her undoing. Well-directed cop thriller isn't a blockbuster, nor is it capable of really expanding its perimeters on the basis of a slight budget, but filmmaker Sondra Locke gets fine performances from her cast, particularly Theresa Russell, exuding palpable street-glamor in the lead, and handsome George Dzundza as her lieutenant. I have never been an admirer of creepy-eyed Jeff Fahey's work (he always seems hyped up for little purpose), but he isn't too distracting here. Little-seen picture is perfect late-night TV fodder; nothing overly substantial or imaginative, but tightly-wound and involving. **1/2 from ****