Rapport confidentiel

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.

I just got back from a film club screening of Report to the Commissioner, followed by a Q & A with Jonathan Demme...I loved it!

I thought that Michael Moriarity's performance was amazing; he was able to capture the ambivalence of wanting to do "the right thing", according to his value system, and carrying out the legacy that his father had wanted for his older brother, who'd been killed in Vietnam.

His internal torture was brilliantly played in the elevator scene, in which he was wordless, but communicated his conflict and terror chillingly nonetheless.

The most touching scene for me was when he was giving his statement to the police officials. When he was questioned about his "subversive" college activities he poignantly stated that he had protested the (Vietnam) war. It was resonant for me, having been one of those protesters, and relevant to these times--- our war in Iraq, and the current political environment which implies that anyone protesting it is "un-American".

Looking at the demographics on this site in terms of voting on this film, I find it very interesting that my age cohort gave this film the highest ratings. Perhaps it's because we lived through times that make this film cinema verite'. I'd love to hear other's opinions on this interesting phenomenon.

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.

I still have the book version of this movie. I am not sure if it was an original screenplay or novel first because the writing is so dense that it xould have come from a very involved novel.

Tje story is about a modern, perhaps overly sensitive detective played by Michael Moriarty who is the son of a prominent member of the force. He is disrespected and dismissed as a byproduct of nepotism. He stumbles on a criminal investigation being led by an undercover detective who is building a case against a drug kingpin while being his lover. This detective has alot of anonymous fame and is an acknowledged star on the force. Things roll on from there as the plot twists and curves toward a "Mexican standoff", career politicans and self serving officers exploiting situations and a very tragic but inevitable conclusion.

There is alot of character development. These characters are not empty vessels but are fully realized. Very strong script. Highly recommended although the narration does get in the way from time to time. It really is not neccessary.

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.