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

INTERVIEW WITH ACTRESS SUSAN BLAKELY

Today I have the immense pleasure of welcoming a very special guest, actress Susan Blakely, to CINEMATIC REVELATIONS for an interview. Susan has acted in many motion pictures over the years such as THE WAY WE WERE, THE LORDS OF FLATBUSH, REPORT TO THE COMMISSIONER, DREAMER [my review of the film can be found here] THE GENESIS CODE, THE TOWERING INFERNO, and EMILY OR OSCAR, to name a few examples. In this interview Susan will be discussing her role in DREAMER, acting, television, and The Actors Studio.

(Courtesy of Susan Blakely)

Welcome to CINEMATIC REVELATIONS Susan!

Athan: When did you first realize that you wanted to be an actress?

Susan: As an Army family, we were traveling all around the world when I was a kid. We didn’t have TV until I was a little older, so I was addicted to reading. Often I would identify so much with a character in what I was reading that I felt like I could just step into the part. Also back then no one ever talked to me about what I wanted to do when I grew up so acting seemed like fun. I just thought I would do plays. It never really dawned on me that I would be in films even after I had some game as a model in New York City. I was studying acting during all that time and doing a lot of commercials, so I sort of fell into acting.

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Athan: Your performance as Karen in DREAMER was admirable, a young woman who knew her own heart and mind, made mistakes, and had regrets about these, which made her all the more real. What it is that drew you to the part of Karen?

Susan: Well you said it perfectly…It was all of those things, a woman who knew her own heart and mind, made mistakes and had regrets about them. In today’s world she would’ve been much further along in her career but at that point in time she had to be smarter and more competent than a man doing the same job...and for less money. But she was also very vulnerable and madly in love with Dreamer. Ironically, even in my acting classes, I was always drawn to characters from rural America. I did get to do some of those types throughout my career but if I had made different choices about big projects and had had a bigger career, I would’ve done many more. Even in "Rich Man, Poor Man" my favorite part of that mini-series was when my character was young living in a small town in upstate New York. Ironically, most of the roles that I have been offered have been for more upscale women. Also fun to do but I feel my heart is with women like Karen.

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Athan: DREAMER had an excellent cast with yourself, Tim Matheson, and Jack Warden as the main focus in the picture. What was it like working with these performers?

Susan: Honestly, it was such a thrill for me. Tim had already been working as a professional actor for longer than I had and was an incredibly accomplished, and very serious actor. I learned a lot working with him. He was also a very generous actor to work with. Jack Warden was of course, one of the most remarkable character actors of our time. He was also hysterically funny between scenes and after work. DREAMER was filled with so many remarkable character actors. Again, all who had worked much longer than I had… Barbara Stewart, Matt Clark, Richard Schull and Merrya Small who has changed her name to Mews Small. The whole cast and crew stayed at the unassuming local Ramada Inn in Alton, Illinois, so we had a lot of fun together.

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Athan: DREAMER was set in the world of ten-pin bowling, with its main character striving for success in this sport. The film featured many scenes in the bowling alley, which gave it a sense of realism in this respect. After shooting the movie, did you see the sport in a different light than how you previously envisioned it?

Susan: Somewhat. It certainly was fun to meet some of the sport's stars like Dick Weber, who played himself in the film just to observe the concentration and prowess that bowling demands. But I honestly think that bowling is a difficult sport to make exciting on film. I think Noel’s experience with editing really helped. What I will always remember is the smell of that bowling alley that we worked in…the cigarettes, stale beer, and rental bowling shoes. I loved it because I felt like I was really there in that small town working in that bowling alley.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming DREAMER?

Susan: Well, I just remember it being physically challenging especially when we were shooting on the river because of the humidity and the mosquitoes.

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Athan: Have you kept in contact with any cast members and crew from DREAMER?

Susan: I did get together with Barbara Stewart and Jack Warden a few times after shooting, but as so often happens we sort of lost touch later. And I’ve seen Tim Matheson and Mews Small occasionally at events. I think we always mean to stay in touch but we all go on our separate ways. But I have such fond memories of all of them.

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Athan: DREAMER was directed by Noel Nosseck, who also directed the motion pictures BEST FRIENDS, LAS VEGAS LADY, YOUNGBLOOD, and KING OF THE MOUNTAIN. What was it like being directed by Mr Nosseck in DREAMER?

Susan: He was quite lovely. Very smart, kind, very organized and easy to work with.

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Athan: You have been very prolific on television over the years, beginning with both instalments of blockbuster mini-series Rich Man, Poor Man, series The Love Boat, Twilight Zone, Hotel, In The Heat Of The Night, Falcon Crest, over thirty telemovies, and more recently in series Southland, NCIS, and This Is Us. What are some of the main differences between film, and television from your perspective?

Susan: I was very lucky to be in some incredible TV -- even groundbreaking TV films, like the mini-series "Rich Man Poor Man" and the movie, "The Bunker," playing Eva Braun opposite Anthony Hopkins as Hitler. And I am grateful for the two films I did with Walter Matthau, "The Incident" and "Against Her Will: An Incident in Baltimore."  I also was pleased to have played Frances Farmer in her own real autobiography, "Will There Really be a Morning?" Of course I loved doing any comedy series like, "Two and a Half Men," and "The George Carlin Show." But a lot of the series that I was offered back then didn’t really excite me whereas TV today is in general incredibly exciting and innovative. I’m quite addicted to watching TV now probably even more so than most of the movies. Especially all of the big action hero franchises that they have out now.

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Athan: From your standpoint, what is the main difference between film, and television production?

Susan: The main difference is time. Time and preproduction, perhaps for rehearsal or to work with the director and writers and customers, etc. Unless of course it’s a low budget film which then has the same amount of time as most TV movies. Nowadays, some of the best TV shows have a lot more time than they used to. 

In general I think TV now is really exciting because it attracts a lot of the best writers, directors, and actors. I am really addicted to TV now. So many amazing shows not just from the United States but from all over the world. We still have a lot of wonderful movies, but so much of production is Tentpole/action films and franchises. 

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Athan: You studied acting at The Actors’ Studio, a very prestigious acting school which boasts many equally high-profile alumni such as Eva Marie Saint, Paul Newman, Jack Nicholson, Al Pacino, Jane Fonda, Anne Bancroft, to name a few performers. In retrospect, what is it that you remember most fondly after attending The Actors Studio?

Susan: Actually, I only took classes at The Actors Studio from Lee Strasberg for a couple of years. I never became a member of The Actors Studio because I was also studying with another highly regarded acting teacher at the time -- Warren Robertson. I had been in this wonderful class of his for a few years and then he put me into his advanced class of all professional actors, many of whom were already famous. Actors like Diane Keaton, James Earl Jones, Madeline Kahn, Burt Young and all these other Broadway stars. It was really challenging and I learned a lot but honestly, I was relieved when I started to work in films and had to move to LA because it was so nerve-racking to work with and in front of those incredible actors. But then, of course, one of my first films was with Paul Newman and Fred Astaire and Steve McQueen, Bill Holden and Faye Dunaway. All in one film… The Towering Inferno.

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Athan: You have been designing jewellery for many years with Susan Blakely Designs, crafting beautiful and original pieces such as necklaces, earrings, and bracelets. The pieces contain semi-precious stones such as ruby, onyx, garnet, amethyst, and peridot, which make these appropriate for either formal, or more relaxed attire. What is it that you most love about creating your jewellery pieces?

Susan: I think what I’ve always loved the most is creating something beautiful out of these gorgeous stones. I love them as accessories to wear with simple basic fashions.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Susan: No, I don’t have any upcoming projects. I haven’t had any offers lately that have really excited me and I thoroughly enjoy my time off. Reading and watching films and TV, with my husband -- hanging out with our dog and spending time with all of my dear friends. I feel very blessed.

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Thank you so much for your time today Susan, and for the insight you have provided into the art of acting, DREAMER, cinema, television, and The Actors Studio. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Susan Blakely links

(Courtesy of Susan Blakely)

+Susan Blakely IMDb Actress Page

+DREAMER movie IMDb page

DREAMER (1979)

Title: DREAMER

Year of Release: 1979

Director: Noel Nosseck

Genre: Drama, Sport, Romance

Synopsis: An ambitious young man dreams of becoming a ten-pin bowling champion.

Within a film history context: In film history there have been a number of films which feature a bowling alley as part of the story, but generally as a supporting thread, or where a major scene occurs in the narrative. Generally, these did not present a character who bowled professionally, rather for leisure. One of the first to showcase a bowling alley as an important part of the story was Howard Hawks' SCARFACE (1932). In this movie, there is a pivotal scene in the bowling alley in this classic crime picture. With comedy THE DARING YOUNG MAN (1942), directed by Frank Strayer, a professional bowler unknowingly becomes mixed up in intrigue and espionage. Jean Negulesco's ROAD HOUSE (1948), had a night club owner falling for a singer, with the film's key setting, a roadhouse, including a bowling alley inside. A much darker movie, Stuart Heisler's STORM WARNING (1951) had Ginger Rogers and Doris Day as sisters in this tale of racism, where Miss Day's character worked in a bowling alley, an integral set piece in the film. 

Film noir MAN IN THE VAULT (1956), directed by Andrew V. McLaglen, also had a bowling alley as a central setting in the narrative where a number of events take place. In a much lighter vein was Bob Rafelson's FIVE EASY PIECES (1970). The main character and his friends play ten-pin bowling in this strong examination of a talented, volatile man with definite edges. The well-regarded Canadian film GOIN' DOWN THE ROAD (1970), directed by Donald Shebib, had one of the two main characters work in a bowling alley in this movie of two friends, portraying their lives and dreams. Of a more frivolous nature was Larry Hagman's BEWARE! THE BLOB (1972). This science fiction horror picture had a major scene take place in a bowling alley, as was the case with previous films. Disaster comedy THE BIG BUS (1976), directed by James Frawley, also had a bowling alley within its narrative structure, this time, being a section of the bus, which was the movie's main milieu. DREAMER was a film in which ten-pin bowling, and an aspiring bowler, were its dominant subjects, and where much of its action takes place.

The film was entirely in comparison to other entries where the bowling alley was a small component of the overall movie. With examples such as SCARFACE, ROAD HOUSE, STORM WARNING, BEWARE! THE BLOB, THE BIG BUS, FIVE EASY PIECES, and GOIN' DOWN THE ROAD, important plot events took place in a bowling alley, but lesser in stature with the fourth and fifth examples. These two films highlighted the leisure component of bowling, and employment aspect respectively, which gave these a point of difference. Working in a bowling alley, though, was also a part of STORM WARNING and THE DARING YOUNG MAN. THE DARING YOUNG MAN, in particular, could be seen as being closest in its themes to DREAMER, although the former was a light-hearted take on the latter. 

DREAMER had many serious moments but was not too heavy-handed with its dramatic content. It lacked the spine-tingling suspense scenes in STORM WARNING, but DREAMER was not that type of movie. There was not a sense of danger, peril, or trumped-up melodrama present in DREAMER, being of a more realistic, down-to-earth orientation. DREAMER, instead, closely followed a young man dreaming of becoming a bowling champion, and both his professional, and romantic endeavours. The romantic facets were also in THE DARING YOUNG MAN, if in a more overtly comic manner. Dreamer's relationship with girlfriend Karen had some comical moments, but not of the superficial, slapstick kind. Difference of opinion on matters both drew them apart, but also, their mutual agreement on others brought them together. A sound film about ten-pin bowling and the people who inhabit this world, DREAMER is a sweet movie.

Overview: Noel Nosseck is an American director who has helmed five motion pictures, generally light fare with a concentration on action. Mr Nosseck has, though, been much more prolific on television, directing many telemovies, and series episodes. His first film, BEST FRIENDS (1975), followed two best friends and their amours, with one of the two men less than impressed on the other's impending marriage, and consequently trying to ruin his friend's happiness. His second effort, LAS VEGAS LADY (1975) was a crime movie with action aplenty. The difference in this film is that a woman plans to rob a casino with assistance from two other women, but matters may not be a clear-cut as they first envisioned. YOUNGBLOOD (1978) was about a young black man in Los Angeles involved in gang wars, and fighting against drug dealers, unknowing that his brother is the leader of this outfit. Noel Nosseck's final film, KING OF THE MOUNTAIN (1981), centered around several people who speed drive their cars on Mulholland Drive for fame and monetary gain. Noel Nosseck's fourth movie, DREAMER, was one of his most agreeable, if insubstantial pictures.

In the case of DREAMER, Noel Nosseck has made a likable, innocuous film. The movie is the softest centered of Mr Nosseck's output, his other works being stronger in tone, such as BEST FRIENDS, YOUNGBLOOD, and KING OF THE MOUNTAIN. There is the theme of competition between people for a goal which permeates his films in general, but in the case of DREAMER, it is of a man's struggles in achieving success, without open rivalry from second parties. Taking as its main focus a young man seeking to become a ten-pin bowling champion, it is an enjoyable movie experience. It ably follows the young man in question, Harold 'Dreamer' Nuttingham through his trials, travails, love difficulties, and eventual triumph as a bowling star. It is observant not only of its characters but also, the sport of ten-pin bowling itself. There is a sweetness about the movie which raises many a smile while viewing it, something not to be discounted. Its breezy nature and lack of heaviness is pleasing to witness, but as a film, does work against it somewhat.

To be fair, DREAMER does have a solid storyline, and does not make outrageous plot choices which are out of sync with its characters. Its feel of everyday life gives it a warmth which is becoming. In saying this, though, the movie is dramatically flat at times, when it should have been more forceful and vigorous. It does possess a trio of well-drawn characters, with Dreamer, his manager Harry, and Dreamer's girlfriend Karen, who are all three-dimensional, but the events which occur to them are not overly compelling. The exceptions are when Dreamer and Karen argue, and there is some conflict there. The film's most heated moment is when Karen confronts Harry, and his reaction, and subsequent fate. The aftermath of this, with Karen's emotions overflowing, and guilt coming to the fore, is the best segment in DREAMER. It works as a device to bring Dreamer and Karen back together, and gives credence to the movie's final scenes. If DREAMER only had a sharper pace, and more riveting scenes, it would have been more memorable as a film. A pleasant if too leisurely movie, DREAMER is notable as an entry about the world of ten-pin bowling from director Noel Nosseck. 

Acting: DREAMER has three excellent main performances which greatly assist in its watchability. In the lead role of Dreamer, Tim Matheson is wonderful. An actor who infuses life into his characters, making them real, and motivations clear to the viewer, Mr Matheson does a fantastic job as the ambitious bowling champion. As Karen, Dreamer's girlfriend, Susan Blakely shows why she is a most thoughtful actress. Miss Blakely always takes an in-depth approach to her characters, her Karen a young woman who knows what she wants, being a life with Dreamer but also, on her terms. Susan Blakely's Karen has a spunkiness and fire which are amiable but also, is psychologically complex. Karen's confrontation scene with Harry is the most compelling moment in the movie which has palpable repercussions for Karen, and Dreamer. The final acting of note in DREAMER is by Jack Warden. Jack Warden gives Harry, Dreamer's manager and father figure, his unique personality and irrepressible sense of fun. An actor who made his larger-than-life characters human and real, he gives his Harry not only this but also, a sense of tragedy which is relatable, his absence from the film in the final reels confronting.

Soundtrack: DREAMER has a spare soundtrack which is to its advantage. Bill Conti's jazz theme during the opening credits evokes a classic aura, reflecting the rich history of ten-pin bowling itself. The most notable tune played in the film is 'Reach For The Top', performed by Pablo Cruise. It is utilized at various points, mainly after the opening credits, and closing credits. The song provides a nice inspirational ambience, which is the central aim of the picture itself.

Mise-en-scene: DREAMER has a very good attention to detail in what appears onscreen for spectators. Cinematographer Bruce Surtees employs a naturalistic use of colour without it ever being too bright or pretty. This works well as the movie itself has a homely feeling, and is not glamorous in context. Outdoor locations are all well-selected, and pleasant to witness, such as Harry's home, and outside the bowling alley. Interiors such as the bowling alleys depicted in the movie, Harry's office, and the bar, to name several examples, all ooze authenticity, making it clear that thought and care has gone into these.

Notable Acting Performances: Tim Matheson, Susan Blakely, Jack Warden.

Suitability for young viewers: Parental discretion advised. Slight adult themes.

Overall Grade: C

Link: IMDB Page

Trailer