An idealistic rookie cop joins the L.A.P.D. to make ends meet while finishing law school, and is indoctrinated by a seasoned veteran. As time goes on, he loses his ambitions and family as police work becomes his entire life.
George C. Scott,
Bill Cosby and Robert Culp ("I Spy") are united again as private eyes in this Walter Hill-scripted "film noir." Searching for a missing girl, they find themselves involved with vicious criminals and precipitating a string of deaths.
A vicious Kansas City slaughterhouse owner and his hick family are having a bloody "beef" with the Chicago crime syndicate over profits from their joint illegal operations. Top enforcer Nick Devlin is sent to straighten things out.
A San Francisco city bus, with eight passengers and the driver, pulls out of a downtown bus station and moves through the city stopping once for a new passenger. The passenger, unseen above the chest, walks to the back of the bus pulls the pieces of a sub-machine gun from a tote bag, assembles them, and massacres the eight passenger and the driver. The bus crashes and the killer walks away. Driving onto the scene are homicide detectives Jake Martin (Walter Matthau), Leo Larsen (Bruce Dern) and James Larrinore (Lou Gosset). As they search the bus they find one of the bodies is that of Dave Evans (Anthony Costello), Martin's police partner. It is the search for the murderer and the reason for Evans' presence on the bus that pairs detective Martin and Larsen together. With the help of Evan's girlfriend Kay Butler (Cathy Lee Crosby), they determine that Evans was following leads to close a murder case which Martin, sixteen years on the force, was unable to solve two years previous. Thed ...Written by
Les Adams <email@example.com>
The same distinctive green station wagon with wood paneling was used in multiple scenes as an "automobile extra", and appeared throughout the film in background shots. See more »
The Anthony Zerbe character is Lieutenant "Styner" according
to his desk nameplate, but "Steiner" in the closing credits. See more »
Insp. Leo Larsen SFPD:
[after Camerero leaves a gay bar with another man]
I think he's a fag. Things are looser now. I guess a couple years ago, that was enough to ruin you.
Sgt. Jake Martin SFPD:
Well, that's what I've been saying.
Insp. Leo Larsen SFPD:
Yeah, that's probably where I heard it. You think that Theresa found out about him and then didn't know which way to turn?
See more »
Long-time San Franciscan looks at the city in this movie.
I saw this movie today for the Xth time. As usual, I liked it a lot. So I looked this movie up on imdb.com, to see what they had to say, and was surprised at their Summary for this movie: `Dreary, Empty-Headed Crime Drama.'
I beg to differ. I have always loved this movie. It was released in 1973. It is a perfect picture of San Francisco in the mid-70's. I was there and I recognize everything in it--people, places, and attitudes. This is the pre-AIDS, pre-Yuppie, free-wheeling, getting-used-to-it San Francisco that I loved.
The director (Jack Sommersby) has taken the usual poetic license with the locations, so that the No. 14 Mission bus miraculously goes to Chinatown, and the Transamerica Pyramid is a good view from the Transbay Bus Terminal, but never mind. Any long-time San Franciscan will recognize the sights.
Further, and even better, this is a movie of subtleties--perhaps that is why the IMDB reviewer found it dreary. We are not hit in the face with expository material. The dialogue is not used to describe what can be shown. Early in the movie, the police are confronted with a bus of dead people. Getting on the bus, nobody says `It stinks in here.' Instead, one of the policemen says to the medical examiner, who is smoking a cigar, `Blow some of that smoke over here.' And, without comment, the ME does so. That is how we know it stinks in the bus.
As the policemen look closely at the dead people on the bus, they find that one of them is a policeman. It is, in fact, Matthau's partner. But they never say to each other (and therefore to us) that this victim is a policeman. They show it only in their reactions. Someone says, `My God! It's Hansen!' or words to that effect. `What is he doing on a bus?' and other dialogue let us know that this man is a policeman.
This is a happy change from the tedious obviousness of movies that are full of lines like, `You know, Jack, you are a happy-go-lucky person. Your face shows it.' Jack sits there like the lump he is, looking neither happy nor unhappy. We have to believe the speaker, because the acting isn't going to give us this information. A good director would eliminate this line, and get some happy-face acting from Jack.
It is good to see a movie directed by someone who thinks we are smart enough to get the point without being hit over the head with it. The advice usually given to beginning writers is also good for experienced directors: Don't tell us. Show us.
The laughing policeman is Bruce Dern--new to homicide investigations, and without subtleties. He laughs a lot. Matthau is the old-timer, who never laughs. He is also not a subtle person, but he is at least cautious. They are the beagle puppy and experienced retriever of the world of murder. They are oil and water, definitely not blending.
The plot is absurd, but it hardly matters. It is the chase. It is the location. It is the ambience (dreadful, overused word, but there it is; it is the right word) that counts in this movie.
Finding it on TV is hard these days. I found it recently on Black Starz TV. Fortunately for us all, Lou Gossett, Jr. is in it, so it will show up on channels catering to African Americans. Hunt for it. It's worth it.
IMDB.com uses the 10-star rating system. Following their lead, I give it 5 stars for plot, and 9 stars for faithful depiction of a time and place.
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