DVDebut for Antonino D'Ambrosio's hero cop documentary, FRANK SERPICO

The idea that anyone -- back in 1973 when the film Serpico first appeared, or now, some 45 years later, with the DVD release of the new documentary, FRANK SERPICO, about that New York City cop-turned-whistleblower --- could question whether Frank Serpico was a hero or a "rat" (as so many of his fellow cops, a lot of whom were corrupt, on-the-take sleaze-bags, would call him then and still do today), offers a clear perspective as to why the United States of America continues to struggle so mightily for anything approaching justice and parity for its citizens.

While the earlier film, directed with his usual grit and realism by the late Sidney Lumet, was terrifically entertaining and timely (and remains so today), the new documentary written, produced and directed by Antonino D'Ambrosio (shown at left), proves a surprising and often fascinating addition to the Serpico story.

Mr. D'Ambosio's name seemed somewhat familiar to TrustMovies, so I checked my past posts to find I'd reviewed an earlier film of his, another documentary concerned with American justice entitled Let Fury Have the Hour (click the link for the review).

I'm happy to report that the filmmaker's new documentary is a considerably more cogent and focused piece of work.

Beginning with a scene in which Mr. Serpico (shown above, back in the 70s, and below more currently) explains how, as a police officer, he had to arrest prostitutes and how much he detested that kind of work, the documentary then moves to American history and our country's anti-Italian prejudice, Serpico's own family history, including his grandfather and father, from both of whom he seems to have inherited much of his moral compass.

This fellow proves quite a low-key but very compelling host and raconteur, and D'Ambrosio's filmic style, perhaps deliberately in keeping with that of his subject, is measured and quiet, never glossy nor hyped. Together, filmmaker and subject make for an excellent combination that never needs to plead for our trust but instead gets it quite naturally.

We hear from a number of Serpico's partners and friends (one of these is shown above) from the old days, including the partner he had on the day he was shot in the head -- an event that remains as suspicious now as it seemed at the time, since this man had made it his mission to try to bring to light, top to bottom, the corruption that was endemic throughout the New York City Police Department.

This shooting takes place midway through the film and its aftermath, which is, in a sense, still going on, takes up the remainder of the movie. We learn how Serpico, once he got out of the hospital, managed to get the police report regarding his shooting, which showed that, instead of the police themselves reporting one of their own being felled, the call to the police actually came from a civilian. That's how much the cops cared about saving the life of this man.

Then we see a little of the famous Knapp Commission, in which NYC police corruption was investigated, and to which Serpico provided much of the background and evidence. We hear (and see now) from his then-lawyer, Ramsey Clark (above, left).

Over a drink, we're privy to a meeting between him and his ex-partner in which that partner accuses Serpico of only going after cops as the bad guys but not their bosses.  "How would you do that?" Frank asks him. "I don't know. I didn't even try," comes the abashed response. We see and hear a lot about the negative response to Serpico's whistleblowing, and how the police want to paint it all as "us against them." But, as Ramsey Clark points out, that is incorrect because in reality, "It's only us." Or it should be. Funny how power and corruption always divide things.

There's some time, too, devoted to afterward, as our cop moves first to a farm in Northern Holland, and then finally to a home in upstate New York. D'Ambrosio ends his documentary with a huge rallying cry for justice and honesty now. The event that closes the film, together with the last line of dialog spoken, makes for a memorable humdinger of a finale.

From Sundance Selects and IFC Films, Frank Serpico hits the street on DVD tomorrow, Tuesday, March 13 -- for purchase and/or rental.

LET FURY HAVE THE HOUR: Antonino D'Ambrosio's feel-good doc about art, politics and the possibilities for change

How strange it is to see a documentary about subjects dear to one's heart and mind, and featuring a number of talking heads -- John Sayles! Eve Ensler! Van Jones! Richard D. Wolfe! -- whom you have admired for years -- and then find yourself arguing with the movie more and more often as it alternately crawls or barrels along. That was the state TrustMovies found himself in while watching the new film -- the first full-length from Antonino D'Ambrosio -- bearing a most interesting title, LET FURY HAVE THE HOUR.

Arguing with a movie is not necessarily a bad thing. At least you are engaged with it, which is pretty easy to be, so far as Mr. D'Ambrosio's film is concerned (the filmmaker is shown at left). Based on his book of the same name, that also featured the sub-title Joe Strummer, Punk, and The Movement That Shook The World, the documentary is mostly a series of talking heads (I counted some 38 participants listed in the end credits) who talk about art, music (many are themselves musicians), poetry, politics, economics and social change. At the film's beginning, the writer/director tells us this: At the dawn of the 1980s two leaders rose to power, speaking not to the people's aspirations but to their fears, not to their need to come together but their desire to pull apart. These two convinced millions that there was no alternative."

OK. So I'm thinking, who are these two? Milosevic (but he was the end of the 80s)? Maybe some crazy African dictator? Forget that. D'Ambrosio means Ronald Reagan and Margaret Thatcher. The filmmaker, via his talking heads, then explains how and why these two reactionary conservatives spread their gospel and created the huge disparity between the very rich and the rest of us.

Then he seals the deal by telling us that the music and poetry and arts community rose up in a kind of "Creative Response" that was able to counteract the reactionary movement. Sort of. But did it? And if so, is it still working? To its credit, the movie does address that age-old question Can art makes any difference in the world? But its answer is pretty half-assed, I'm afraid. Yes, many of us love art, which can become a kind of salvation for our minds and spirit. But as to putting food on the table or solving the world's problems, this is more problematic.

There is a lot of intelligence on display here -- from everyone from from Sayles to Chuck D (above: rapper and founder of Public Enemy), Staceyann Chin (below) to Edwige Danticat. Ms Chin, toward the end of the film, explains it this way: The question isn't, Are we moving forward or backward? The questions is, Are we on the right side of history." Fair enough.

But when someone else opines, "I think we're ready for a leap," one can't help but wonder, where -- into the abyss? Everything here is about art of all kinds, with nary a mention of something that might greatly effect art (and all else) like climate change. Religion (and its discontents) is also nowhere to be seen or heard. And certain religions around the world, as practiced by their more fundamentalist believers, would gladly kill many of the artists shown in the film, particularly the women.

Change is inevitable, yes, as (I think) Ms Chin points out. But I would suggest that, while we're on the right side of history, unfortunately the wrong side -- corporations, the wealthy, the powerful -- is definitely winning. How do we change this, short of armed revolution (which we may not stand much chance of winning)? I don't know -- and the movie, feel-good inspiration-fest that it is, doesn't have a clue.

Worth seeing -- and arguing over -- Let Fury Have the Hour, a CAVU Pictures release and running 88 minutes, opens this Friday, December 14, in New York City at the Quad Cinema, and will open in other cities across the country come January. Click here to see currently scheduled cities and theaters.

Note: As a special treat, there will be 

Q&As with the filmmaker following 

the 7:25pm show on Friday 12/14, 

following the 5:15pm & 7:25pm shows 

on Saturday, 12/15 and following the 3:00pm & 

5:15pm shows on Sunday, 12/16.