Les flics ne dorment pas la nuit

I recently bought the Season One DVD set for "Police Story"--the cop show from the 70s that was inspired by Joseph Wambaugh's film "The New Centurions". So far, I've really enjoyed "Police Story"--and am sad that only the first season is on DVD. So, in consolation, I decided to at least see "The New Centurions".

Like "Police Story", "The New Centurions" does not whitewash police work. The language is very earthy, to say the least--especially since it didn't need to worry about television audiences and was rated R. It shows the interesting side as well as the downside--and all through the perspective of a rookie cop, Fehler (Stacy Keach), as you follow his through the years. There is a HUGE price to pay for loving a job like this--as his marriage falls apart and he pretty much gives his life for the department.

I have noticed that other reviewers talk about Fehler's partner, Kilvinski (George C. Scott). He was a HUGE presence in the film, though he's only in about half the film. Apart from that, Fehler had other partners and a variety of experiences that all pushed him almost over the edge. Dealing with drinking, PTSD and more is what makes this cop film quite unusual--and well worth your time. Exceptionally well made and a film that revels in NOT being like cop films of the 30s, 40s and 50s!! Exceptional acting and writing make this a standout film.

Good little film, about the ins & outs of a group of cops in LA in the early 70's. Good eye for detail, and another fine performance by George C. Scott. This guy was on a roll back then. Having finished up the 60's w/ "Petulia", then "Patton", followed by the excellent gem "The Hospital", it was almost a couldn't miss. True to life depiction, bogged down just a bit by melodrama & cliche'-ridden script. Stacy Keach fine in this as well.

This film, aside from its very special status mentioned above, is quite worthwhile and entertaining. It is an excellent George C. Scott vehicle, well-directed, well-scripted and well edited!

Like other quality police dramas, it has several intertwined seamlessly integrated storylines, none of which is left unresolved, or most of which are left unresolved, when the end credits begin to roll...depending on your point of view! At times, onscreen events resonant with such realism that it lends a dimension of docudrama to the overall production.

CENTURIONS clearly transmits the boring nature of most of the daily, moment to moment activities that permeates police work, while, at the same time, emphasizing that this aspect of the job must be tempered by a heightened awareness intrinsic to survival owing to the ever-present possible reality of life-threatening scenarios on a one second event horizon! These "Men In Black" would, undoubtedly, prefer to live in a world where all their on-the-job decision options were delineated by a simple Black or White distinction. The reality of the New Centurions is that they clearly come in every imaginable shade of gray! Scott's cynical, scarred, veteran, Kilvinski, nearing retirement, has constructed a reality where his quasi-legal technique of locking up street-walkers in his paddy wagon and driving them around all night to keep the streets "clean and decent" is a necessary evil with which he feels, at least, reasonably comfortable!

Keach's enthusiastic and idealistic rookie, Fehler, oozes frustration from every pore, as he perceives the lifeblood of his initial optimism being drained, drop by drop, by the cold, hard cement indifference of L. A.'s Mean Streets! Viewing, impotently, as both his marriage and his upbeat rookie positivism flounder in an ocean of problems, he finds consolation and support in the arms of a sensitive and empathetic nurse, played by Rosalind Cash.... Here is where I will reference the "Unheralded Epic First in Cinema History": I suppose that today´s world, or in a perfect world.... we are not supposed to notice or mention a good number of things because we must be "P. C.", right?

But CENTURIONS wasn't made in 2024...It was released in 1972! To the best of my recollection, in the early 70's, whenever we saw a bi-racial onscreen couple, which was really not all that frequently to begin with, their racial difference was always a focal point of the relationship. Usually because of the problems they encountered because of this difference from friends, from relatives or parents, from those in authority or simply from others in society! How briskly refreshing that in CENTURIONS they were just a police officer and a nurse who cared very dearly for one another...Absolutely no mention whatsoever of their racial difference! Isn't that exactly the way it should be? The way it is now...?????

(Well, almost, anyway!).

Hope to get some feedback from someone, anyone on this aspect of the movie...9********* Stars!

ENJOY! / DISFRUTELA!

Any comments, questions or observations, in English o en Español, are most welcome!

Joseph Wambaugh has written a lot of great books over the four decades of his literary career. My experience with him started in eighth grade in 1972 when I read The New Centurions, a blisteringly honest and terrifying book about the lives of three rookie patrolman in LA during the early 60s. It was easily the most grown-up book I had ever read (my mom thumbed through it and was appalled at the language; yet she let me finish it) and when I got to see the 1972 movie (butchered on NBC in '73 or '74), I had reread it and knew everything the little old ladies with the scissors had hacked out. Even with the obligatory mangling for our living room sensibilities, Richard Fleischer's film is a well-acted and gritty TV-looking version of Wambaugh's great, searing novel.

For the most part, the casting--THE critical step to putting the book on screen--was dead on. Stacy Keach nails Roy Fehler, George C. Scott is a slightly more buff, less urbane Andy Kilvinsky, and Jane Alexander (who is beautiful because she isn't) embodies Fehler's estranged wife, Dorothy). My only complaint is in casting Erik Estrada as Sergio. I know why he was picked--a blonde Hispanic would have confused viewers who had not read the book, but some skilled writing may have gotten the real Sergio across on screen. This is no insult to Estrada. He's hardly on screen, but this was before the excremental CHIPS, the show that ruined his career while making him a household name, and he is quite good for the few minutes we get him.

The problem with The New Centurions is that, since it is designed for mass consumption, it has been rendered more TV cop drama than searing expose of urban policing. It looks authentic, but the color and depth of the images never really fill the wide screen, dooming it to look like it belongs on the small one.

In comparison though, this is a much more successful adaptation of a Wambaugh work than the open-mouthed horror of Robert Aldrich's The Choirboys. That book was even more dark (how Wambaugh was able to make such a brutal novel so funny is still an amazement to me), but the 1977 movie was about as awful--and unfunny--as you could ever hope to miss.

Which, in comparison, makes The New Centurions all the better. Don't get me wrong, TNC is a flawed film, but it is a good one on the whole. I would just, strongly, suggest you read the book--and The Choirboys--first to get the real flavor of one of America's better crime writers (and social critics).

Joseph Wambaugh had a string of best-selling novels in the 1970's, all based on his experiences as a beat cop in the Los Angeles Police Department. 'The New Centurions' was one such novel, and this is the film of the book. Wambaugh's familiar world of drunks, domestic disputes, whores and 'busting fruits' is set out here with reasonable exactitude. Sterling ('Towering Inferno') Silliphant's screenplay is somewhat sluggish, but the Wambaugh ambience is immediately recognizable.

The point of the film is that yes, police work is physically dangerous, but the real threat to the officers' well-being comes from the emotional strain that they have to endure. Marriages founder and strong, healthy men take to drink and drugs because they get worn down by seeing what crime does to people. Often, they find their training and knowledge of the law completely useless, because the reality of street life makes glorified social workers of them. Some officers acquire a benign wisdom which enables them to bend the rules and do a little good. The esprit de corps among the officers is strong, and deep personal friendships are forged, but the job is an ugly, dirty, dangerous one and society is fortunate that there are some people willing to do it.

The friendship between rookie Roy Fehler (Stacey Keach) and veteran Andy Kilvinski (George C. Scott) is the centrepiece of the story. The younger man learns and grows under the tutelage of a partner who is an outstanding cop. We see Fehler in his turn become a veteran, but we also watch the decline of both men as the job grinds them down.

Intimate moments of unspoken affection between the two men are well done, and the Californian paradise which houses this human hell is nicely depicted, but would a senior police officer really beat up a rapacious landlord in the street? And after the innovative "Boston Strangler" of four years earlier, it is a shame to see this able director cranking out a film so devoid of artistic merit.

"I tried to hold on," says Fehler after being dragged along by a car. It's a metaphor for his police career.