REPORT TO THE COMMISSIONER (1975)

Title: REPORT TO THE COMMISSIONER

Year of Release: 1975

Director: Milton Katselas

Genre: Crime, Drama

Synopsis: A novice police officer becomes obsessed with a policewoman, unknowing that she is also on the force, but his, and her lives, are turned upside down by his infatuation.

Within a film history context: Movies with a female policewoman main character did not appear regularly in cinema history. One of the first to deal with the subject was William J. Cowen's WOMAN UNAFRAID (1934). A policewoman assists several young women of dubious backgrounds to get back to life in this early programmer. IT SHOULDN'T HAPPEN TO A DOG (1946), directed by Herbert Leeds, was a comedy of a reporter and a woman teaming up to investigate racketeering, unknowing at first that she is a police officer. Matters were of a more dramatic nature in Joseph Pevney's UNDERCOVER GIRL (1950). A young female police officer goes incognito to find the killers of her father, in this film noir with Alexis Smith as the titular character. CALLING BULLDOG DRUMMOND (1951), directed by Victor Saville, had a female policewoman team with the famous detective to overthrow a vicious gang in London. 

John Lemont's THE SHAKEDOWN (1960), featured a female undercover police officer assigned to investigate an underworld outfit cum modelling agency as a model, but when she is recognized, things take a sinister turn. At the opposite end of the spectrum was CARRY ON CONSTABLE (1960), directed by Gerald Thomas. In this Carry On entry, the antics at a suburban police station are delineated, with two female police officers among many men in this zany comedy. Montgomery Tully's FOG FOR A KILLER (1962), followed a female police officer going undercover to help catch a serial killer murdering blonde women in this British movie. On the other hand, POLICEWOMEN (1974), directed by Lee Frost, centered around a rough and tough policewoman who insinuates herself into a female crime syndicate, but comes unstuck when her line of work is discovered. REPORT TO THE COMMISSIONER's female police officer was one of the most subtle character portraits in the genre.

The movie had most in common with the dramas where a female police officer goes undercover for a certain reason, such as UNDERCOVER GIRL, THE SHAKEDOWN, FOG FOR A KILLER, and POLICEWOMEN. In the previous four cases, as with Patty in REPORT TO THE COMMISSIONER, the respective policewomen have a sense of fair play and justice about them in bringing criminals to justice. UNDERCOVER GIRL varies slightly from these as the mission to bring criminals to justice is on a personal, rather than professional basis. The officer in POLICEWOMEN, though, has a private love life, which is something Patty does not possess. The treatment here is of the exploitation film vein, with bed scenes and nudity part and parcel, the latter appearing fleetingly in REPORT TO THE COMMISSIONER. Patty's private life, therefore, is of an intricate, complicated nature, entirely at odds with POLICEWOMEN's orientation. 

In REPORT TO THE COMMISSIONER, Patty's existence is intruded upon by her professional life, due to her fellow male police officer's intervention in this, which causes untold problems. The movie displays the differing sides of its female police officer, thus ensuring that a complete portrait is drawn for the audience, and subsequently a three-dimensional person comes to life for the viewer. The slant is psychological than overt, which was obvious somewhat with POLICEWOMEN's main character displaying her martial arts skills. A convincing, judicious depiction of a female police officer, this is one of REPORT TO THE COMMISSIONER's best assets.

Overview: Milton Katselas was the director of four motion pictures from 1972 to 1979. He tackled both light fare with a romantic slant, and more intense topics in his oeuvre. Mr Katselas' first film, BUTTERFLIES ARE FREE (1972), was a comedy drama about a blind man, and his relationship with a spirited young woman, which raises the ire of his concerned mother. 40 CARATS (1973), was another of his movies with a comedy romance spin. An American divorcee has a fling with a young man while holidaying in Greece, and is shocked to see that he is her daughter's new boyfriend when she returns home in this May-December romance film. WHEN YOU COMIN' BACK, RED RYDER (1979), was Milton Katselas' final picture. An emotionally distraught Vietnam veteran harasses patrons of a Texas diner in this film adaptation of a stage play. REPORT TO THE COMMISSIONER was Milton Katselas' third and penultimate movie, and a satisfactory effort. 

With REPORT TO THE COMMISSIONER, Milton Katselas has made an interesting, if uneven film. The story of a neophyte New York City policeman, and his fixation with an undercover female police officer, with her true identity unbeknownst to him, it is a film with quite a few strong moments, and is a passable motion picture. The director has achieved this effect in several ways. Mr Katselas has succeeded in creating a credible, cut-throat world of crime and punishment in the movie which works. While the topic in other hands may have been given over to becoming a haven for sleaze, with an emphasis on execrable physical detail, Milton Katselas has kept matters on a more discreet, businesslike level. There is a realism about this production, and control where things do not go too far in terms of content. The director has not exploited his story, and characters, just for the sake of cheap thrills, and this lends REPORT TO THE COMMISSIONER an air of authenticity. Despite these strong suits, the picture, though, does have a tendency to be tedious in its execution.

It is a plus that REPORT TO THE COMMISSIONER is unhurried in how it unfolds onscreen for the spectator, peering deep into situations and character interactions. A faster pace, though, would have made the film a sharper viewing experience. Scenes such as the physically-challenged Joey's time on a skateboard in the streets of New York are incongruous, taking away from the careful, somber mood from beforehand. Another grating segment is the elongated elevator scene with Bo and Stick. It takes forever to get where it should be, and defies patience in the process. Aside from this, the film's structure is problematic in retrospect. Knowing the outcome from the beginning, and working backwards from there in flashback, does subtract much suspense from the movie. If REPORT TO THE COMMISSIONER unraveled in a linear progression, this would have heightened the degree of surprise, and anticipation on the part of the viewer. A solid picture which affords a view into the underbelly of New York City in the 1970s, REPORT TO THE COMMISSIONER could have been a far superior movie with better handling.

Acting: REPORT TO THE COMMISSIONER has a number of unique performances which assist in making the movie watchable. As Bo Lockley, the diffident rookie detective who sets events in motion, Michael Moriarty succeeds in a difficult role. From sad to happy, uncertain to dangerous, he covers a gamut of emotions in a convincing manner. The object of his obsession, fellow undercover officer Patty Butler, of whom he is unaware is also on the force, Susan Blakely is excellent in one of her best early roles. The combination of intuition, sensitivity, and streetwise instincts meld together to make Patty a striking figure, qualities which Miss Blakely delivers in spades. Bo's offsider Richard Blackstone comes alive in the person of Yaphet Kotto. Knowing when to be serious, and when to allow the humor to take center stage, Mr Kotto is another notable thespian here. Assistant District Attorney Jackson, who interviews Bo at the film's end, is another knowing turn by William Devane. With his insistent voice, and ability to get down to brass tacks, Mr Devane is entertaining as always here. The final acting of merit was by Richard Gere as pimp Billy, obstacle to Bo in his quest to meet Patty. In his acting debut, Mr Gere's Billy projects a cool, but intriguing apathy which ruffles the feathers of Bo, and looks the part of the hustler with his offbeat, but distinctive attire. 

Soundtrack: REPORT TO THE COMMISSIONER has a very lean soundtrack, with tense music composed by Elmer Bernstein played throughout pivotal scenes. The brief opening credits sequence features an accompanying musical piece for its short duration, the closing credits including a version which is longer in duration.

Mise-en-scene: The pieces come together to make REPORT TO THE COMMISSIONER realistic on a visual level. Mario Tosi's cinematography is perfect, offering a view of the seamy, dark world of the film in subtle Metrocolor. Location shooting is another significant element of REPORT TO THE COMMISSIONER, with the many outdoor scenes something which could not be duplicated in a studio. Interiors also work well, such as the police station, Stick's unkempt apartment, and the disco set oozing authenticity. Costuming is in keeping with the respective personalities of the characters, with Patty's on the job wardrobe sharply contrasting from her home apparel, the police superiors with their expensive suits, and Billy's showy clothing standing out.

Notable Acting Performances: Michael Moriarty, Susan Blakely, Yaphet Kotto, William Devane, Richard Gere.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

Trailer