Corruption and the smug overuse of power in the NYPD? Never. This is seen through the eyes of two people, a victim of violence who witnesses the perpetrator being killed by the police, and the police officer who pulls the trigger. Diahn Williams is coming home one day when all of a sudden James Earl Jones grabs her and dragged her into her apartment, ties her up and goes through everything looking for drugs. Worried friend Lilia Skala I had called her and noticed that we sounded odd so she called the police, and officer Don Murray shows up and in a fit of sudden anger blasts Jones away. Williams makes a statement, unsure of what led to the shooting, but later changes it indicating that Jones had no weapon summary had no cause to shoot him. This leads to Murray, who has been contemplating a future in politics, going ballistic as his life falls apart and the repercussions of Williams' sudden change in testimony.

This film is very depressing on many different levels, and some of the twists and turns seem manipulative and unnecessary, perhaps rather agenda-driven. The lead characters aren't fully drawn, and Williams' character is rather flighty while Murray's is very cocky. He is set up to be ambitious in a rather corrupt way from the start, and indications of what Jones could have done are never clear either. It's sad to see the great black hope torn down by such a stereotypical part, although he is very funny at times playing this awful character. It seems that all this would end up doing in its release would be to create racial tension over the use of violence against an obvious vicious criminal with the hint that he could manipulate his victim and expect a free pass.

Fans of Christmas classics will recognize the voice of George S. Irving as "Heat Miser", even though he had a very lengthy career as a Broadway character actor. There's also a young Treat Williams as one of the cops and beloved TV character actress Conchata Ferrell as a gregarious barmaid. I did not hate this film, and was intrigued by the way it turned out as much as I dislike some of its motivations, and of course the vintage New York City location footage is great to see as a historical record. Williams reminds me a bit of Karen Black, but I found her character rather suspicious. Murray, an underrated screen and stage actor, goes from law enforcer to creepy stalker, and this transition is never believable. This was a B film that came and went without much notice, and while many of the issues are still controversial, is not a good representation of that social subject issue.

Or TERMINATOR, or ONE FOOT IN HELL, remember, starring Alan Ladd as an evil sheriff seeking revenge among the town people whom he said they were responsible of the death of his wife? All those movies include evil lead characters, heroes who are the bad ones, maybe not from the very beginning, but evil, heavies in the end. That's precisely what i love, what I crave for, because that's so unusual. The list of those topics is not so long but it exists. and what the f...the directing, only the scheme is important for me. Yes, I saw this film when I was a teen and still love it each time I watch it. One of best Murray's performances.

Angry and unbalanced bigoted cop Lacy (a fine and credible performance by Don Murray) gets hailed by the press as a hero after he saves beautiful cellist Sally (an appealing portrayal by fetching redhead Diahn Williams) from flaky kidnapper Rabbit (delightfully played with witty relish by James Earl Jones) by gunning the man down. However, after discovering that Rabbit was unarmed and that Lacy is a volatile racist, Sally starts to have second thoughts about Lacy's newfound "heroic" status.

Director Ivan Nagy relates the engrossing story at a steady pace, maintains a tough gritty tone throughout, and makes nice use of grimy New York City locations. Don Peterson's gutsy script tackles the potent issues of racism, misguided hero worship, and abuse of authority head on. The sound acting by the able cast keeps this movie humming: Lilia Skala as pesky landlady Mrs. Broderick, George S. Irving as smarmy opportunistic politician Reilly, Hank Garrett as sympathetic detective Buckley, Charles Siebert as the boorish Baker, Dick Anthony Williams as no-nonsense D.A. Winston, and Treat Williams as Lacy's easygoing partner Billings. Conchata Farrell has a funny small role as cheery barmaid Slugger Ann. Both Andrzej Bartkowiak's proficient cinematography and the funky-throbbing score by Brad Fiedel and Tom Mandel are up to par. Only the dissatisfying ending leaves something to be desired. A solid little film.