Main Cast: George C. Scott, Stacy Keach, Jane Alexander, Scott Wilson, Rosalind Cash
Release Year: 1972
Country: US
Run Time: 103 minutes
MPAA Rating: R
Plot
Joseph Wambaugh's best-seller about patrol-car cops in urban Los Angeles is given a competent yet antiseptic treatment by director Richard Fleischer. The film has a bad-tasting us-versus-them mentality in its depiction of patrolmen-civilian interaction, and its hopeless atmosphere carries over into the bleak suicide of one of the principle characters. But behind its rancid veneer, the story is the old "B"-movie police story concerning a rookie cop being shown the ropes by a kindly and wizened old veteran. Roy (Stacy Keach) is the young patrolman introduced into the ways of Los Angeles street life by Kilvinsky (George C. Scott), the philosophical old pro. Kilvinsky is just short of retirement and wants to educate Roy to succeed him when he leaves. Roy, however, is on the edge because of a recent divorce, and it takes many speeches by Kilvinsky and the love and affection from his new black girlfriend Lorrie (Rosalind Cash) to keep from going over the deep end. ~ Paul Brenner, All Movie Guide
Review
This early attempt at adapting the work of novelist Joseph Wambaugh doesn't break new ground for the cop-movie genre but it's a good, solid piece of work nonetheless. Stirling Silliphant's script takes an episodic approach, using personal storylines of officers Fehler and Kilvinsky as a narrative anchor while devoting most of its running time to a series of on-the-job incidents. The domestic drama elements are sometimes overly familiar (particularly the scenes dealing with Fehler's doomed marriage) but everything is played out with conviction and nothing goes on long enough to wear out its welcome. It also helps that the film is anchored by superb performances from Stacy Keach and George C. Scott: Keach subtly and effectively sells Fehler's slow slide from idealism to disillusionment while Scott effortlessly convinces as a world-weary type who quietly fears becoming obsolete. Scott Wilson also does fine work as a sensitive young recruit who agonizes over a tragic mistake he makes in the line of duty (his facial reactions to this event are gut-wrenching stuff). Director Richard Fleischer brings style to the film without calling attention to it, giving the actors plenty of room to sell the drama while putting his directorial chops to work on a few thrilling action scenes (the best is a hair-raising scene involving Keach stuck on the side of a speeding car). All in all, The New Centurions isn't a groundbreaking entry in its genre but its combination of craftsmanship and intensity make it very satisfying. It is definitely worth the time for cop-film aficionados. ~ Donald Guarisco, All Movie Guide
Guy C. Verhille - Costume Designer, Russ Saunders - First Assistant Director, Richard Fleischer - Director, Robert Jones - Editor, Quincy Jones - Composer (Music Score), Del Acevedo - Makeup, Dave Greyson - Makeup, Boris Leven - Production Designer, Ralph A. Woolsey - Cinematographer, Robert Chartoff - Producer, Irwin Winkler - Producer, Harry Reif - Set Designer, William Randall - Sound/Sound Designer, Arthur Piantadosi - Sound/Sound Designer, Stirling Silliphant - Screenwriter, Joseph Wambaugh - Book Author
