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NOTES FROM UNDERGROUND

  And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground There are certain people of whom it is difficult to say anything which will at once throw them into relief—in other words, describe them graphically in their typical characteristics. These are they who are generally known as “commonplace people,” and this class comprises, of course, the immense majority of mankind. Authors, as a rule, attempt to select and portray types rarely met with in their entirety, but these types are nevertheless more real than real life itself. For instance, when the whole essence of an ordinary person’s nature lies in his perpetual and unchangeable commonplaceness; and when in spite of all his endeavours to do something out of the common, this person ends, eventually, by remaining in his unbroken line of routine—. I think such an individual really does become a type of hi
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Serpico (1973)

 



"What could be a more appropriate subject for a 1973 movie than the ordeal of Frank Serpico, the New York City policeman who became a pariah in the Department because he wouldn’t take bribes? Serpico, whose incorruptibility alienates him from his fellow-officers and turns him into a messianic hippie freak, is a perfect modern-movie hero."
Formed in 197In February 1971, Serpico (Al Pacino) is on his way to hospital after being hit in the face by a bullet during a drug raid in Brooklyn. “Guess who got shot?” asks one policeman of another: “Serpico.” “Think a cop did it?” the other asks. “I know six cops said they’d like to,” the first replies. In real life, as in the film, Serpico’s whistleblowing earned him the enmity of many colleagues. He was shot by the “perp” he was trying to arrest.

 The real Frank Serpico tells the story similarly to the way it is told in the film, though the film-makers replaced his modest revolver with a more dramatic-looking 9mm automatic. Serpico alleges that his fellow police officers left the scene and a local man called an ambulance for him.0, the Knapp commission discovered widespread and deep-rooted corruption in the New York police department. This followed a story given to the New York Times by two whistleblowers, sergeant David Durk and officer Frank Serpico.




The action flashes back to the beginning of Serpico’s career in the 1960s. He is a fine cop, but an outsider: he goes to Spanish literature classes and learns to dance ballet. His colleagues presume he is gay. When he is handed some cash in an envelope, he tries to report it, but is told to drop the subject. “Let’s face it, who can trust a cop who doesn’t take money?” asks one fellow cop. “I mean, you are a little weird.” He moves from precinct to precinct. Instead of fitting in, he finds more and more corruption.

Serpico tells friendly cop Bob Blair (Tony Roberts) about the corruption problems, and they try to take the story to the mayor’s office – but they’re snubbed again. Blair is a fictional character. He stands in for Serpico’s real-life friend David Durk, though he plays a smaller part in the story than Durk did. In 1971, after the story of NYPD corruption first broke, Sam Peckinpah wanted to make this movie as a two-hander, with Paul Newman as Durk and Robert Redford as Serpico. The version which made it to the screen followed Peter Maas’s biography of Serpico and wrote Durk out. Some of his contemporaries saw this as a historical injustice, and it’s certainly true that Frank Serpico is much more widely remembered than David Durk.

Al Pacino’s performance as the focused, hard-edged and yet hippie-ish Serpico is exceptional. Director Sidney Lumet’s knowledge of New York City locations was unsurpassed: the movie was filmed in four of the city’s five boroughs, leaving out only Staten Island. These days, though, the movie feels languorous and overlong – even though Waldo Salts original 240-page screenplay (one page corresponds to about a minute of screen time) was cut in half by co-screenwriter Norman Wexler. 





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