Rapport confidentiel

A not too likable, idealistic young detective is given an assignment which was unnecessary and therefore led to a tragedy and a shakeup in the police hierarchy. The detective, who was totally useless as a policeman, got all wrapped up emotionally with his assignment and acted completely irrationally when confronted with a dangerous situation. I liked the way the film jumped back and forth in time and depicted life in the department and in the inner city realistically. I didn't care for the way a pad happened to be placed conveniently on the rooftop so the jumpers would have a soft landing. Good drama well worth watching.

Here we have yet ANOTHER case of an extremely underrated film. is everyone out of their minds?? Whats with all the mediocre reviews/comments? And here we go with the "it isn't as good as the book" comments. I thought I cleared that up when I reviewed "Slaughterhouse Five" A great cast in a fascinating gritty 70's crime thriller, VISUALLY much in the vein of French Connection, Taking of Pelham 1,2 3 or Panic in Needle Park. The sequence with Bob Balaban as the maniac amputee was brilliant, Susan Blakely is beautiful, story is fascinating. Thank god I had the chance to see this on film (as a pristine 16mm print) I'm looking forward to seeing the 2nd reel.

You'll overlook this film unless you really are an Aquarian and remember its original theatrical run. Not as highly regarded as Serpico. or Prince of the City, but just as important as one of the breakthrough films that suggested cops could be the bad guys, or, more accurately," ...there are no good guys, there are no bad guys, there's only you and me and we two disagree..". If, by chance you ever see this on the rental shelf, or late night TV, watch it, and you won't be sorry, even if only to see a chronicle of the times before anti-heroes regularly wore badges.

"Homicide" (also starring Yaphet Kotto), "Law and Order" (also, originally, starring Michael Moriarity)...even "Hill Street Blues" owe a debt to this gritty, depressing view of the law enforcement establishment.

In retrospect, watching this film adds significance to the subsequent work of its company.

Such an odd collection of hollywood names that went on to become HUGE.. Hector Elizondo, Bob Balaban, Vic Tayback, Richard Gere. Female, undercover cop Butler (Susan Blakely) turns up dead, and all they have is another, uncooperative cop Lockley (Michael Moriarty) in custody. Lockley is now in the psych ward, and the brass demand a report of everything that took place, although they may not want to hear what really happened along the way. Yaphet Kotto is Crunch, who has seen it all. most of the cast is on the police force, at some level. and even they aren't sure who is what rank at times. So Crunch walks Lockley around town, showing him the ropes. but they learn from each other. In the report, Crunch makes a couple comments that he wishes he had known someone like Lockley with a heart when he was growing up. Rough. Gritty. underbelly of NYC in the 1970s. and the cops that watched over it. at one point, i think they are in Studio 54. Directed by Milton Katselas. Only directed SIX films... and one of them was wacky weird Butterflies are Free, with Goldie Hawn. I really like this one, but the mood may be a little dark for some.

Okay, so there aren't enough reviews praising this? So, I will write one. It is not so much that this film is underrated, it deserves the place it has, in the unvarnished uniqueness of post French Connection New York films greenlit because Connection won best picture. This picture is interesting because in the middle of all the crime stuff, it's center is really a chewy for relationships (the kind that guys write after watching 'The Dirty Dozen' or 'Serpico' 20 times), and it is that dark center of distrust with it's dangerous home truths that provides the engine of drama.

Ever feel like that's all life is -- police stories? This one will fuel you're suspicions, if you allow yourself to go along with it (which is hard to do), but that's what New York dark cinema is supposed to do.

But see it to celebrate Susan Blakely, with 'Rich Man Poor Man' as the second part of the double bill. She has her place as a TV queen but before that she also did some very nice work large screen and showed real promise with this pic. The wardrobe, the Tidyman script, the Tosi cinematography in New York, and with the tortured performance of Moriarty there you have it. It is not a satisfying film, that is why the reactions, but it isn't supposed to be. "Report to the Commissioner" happens every day here, ask James Mills who wrote it, he has since discovered it happens all over the world.

Watch 'The Way We Were' after to see Blakely just coming on the scene, if this one is too dark for you, or, 'Who'll Stop the Rain' to see Moriarty.