Word: cops
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Dates: during 1960-1969
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...killer yet a gentle man of principle; the Don. who takes a special interest in Browning in part because of a long-ago romance; Val. Browning's wife. who wears her hair au naturel. but who, like Browning. is firmly in the middle class: even Carrigan, the cop. who, furstrated with his job and marriage takes out his frustrations on a defenseless black youth. As in his previous work, Williams has shown himself to be a masterful writer...
...welfare is a constant annoyance, crime is a chronic menace. Lindsay increased the size of the police force and appointed as police commissioner Howard Leary, a highly civilized career cop who has helped guide the department into a relatively smooth relationship with blacks. Lindsay has also designated city hall aides to maintain close and continuing communications with the city's several Negro and Puerto Rican communities, heading off trouble before it begins. These measures, plus Lindsay's self-appointment as ambassador to the ghettos, have helped keep New York free of major racial violence during the past four years...
Within minutes 5,000 citizens were converging on city hall, wielding sticks, hoes and shovels. They burst into Sal-to's second-floor office and unceremoniously tossed the new "mayor," the Undersecretary and Top Cop Aller out of a window. Aller wound up in a flower bed. Figueroa's defenestrated deputies fled to a nearby police station and finally pledged that Salto would remain mayor after all. Half the city's people danced in the streets until 3 a.m., celebrating their victory...
...whatever happens with Pound, Downey will stay out of the system and out of Hollywood. (He has had his share of lucrative offers to come to cop-out city in the past few months.) "I like to make movies," he says, " and I don't give a fuck if they're shown anywhere...
...news, are initially puzzled, then attracted by this easy permissiveness until, at film's end, the two couples wind up in bed together at a Las Vegas hotel. There they seem to come to their middle-class senses in a denouement that is the biggest cop-out since Sidney Poitier appeared as the world's whitest black man in Guess Who's Coming to Dinner. Mazursky's direction is impersonal and, at best, functional; his idea of good cinematography is getting everyone in focus and lighting the scene as if it were being shot inside...