bureaucracybusters

Posts Tagged ‘SIDNEY LUMET’

DONALD TRUMP AS HOWARD BEALE

In Bureaucracy, Entertainment, History, Politics, Social commentary on September 23, 2019 at 12:04 am

Donald Trump has been compared to Adolf Hitler, Joseph Stalin and Gaius Caligula. But perhaps his counterpart lies not in history but in fiction. 

Specifically, the fictional news anchor Howard Beale in Network, the 1976 satire written by Paddy Chayefsky and directed by Sidney Lumet. It starred Faye Dunaway, William Holden, Robert Duvall Peter Finch and Beatrice Straight.

Network (1976 poster).png

Howard Beale (Finch) the longtime anchor of the UBS Evening News, is about to be fired because of declining ratings. 

So he announces on live television that he will commit suicide on next Tuesday’s broadcast.

UBS fires him, but then agrees to let Beale appear one more time to leave with dignity.

But once Beale is back on the air, he launches into a rant that contains the most famous—and most often-quoted—line in the film:

“I don’t have to tell you things are bad. Everybody knows things are bad. It’s a depression. Everybody’s out of work or scared of losing their job. The dollar buys a nickel’s worth, banks are going bust, shopkeepers keep a gun under the counter….

“We know the air is unfit to breathe and our food is unfit to eat….

“So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, ‘I’M AS MAD AS HELL, AND I’M NOT GOING TO TAKE THIS ANYMORE!'”

Network12.jpg

Peter Finch as Howard Beale in Network

Beale is clearly losing it. But his outburst causes the newscast’s ratings to spike. Instead of pulling him off the air, the top brass of UBS decide to exploit Beale’s antics.

Soon he’s hosting a new program called The Howard Beale Show, where he’s billed as “the mad prophet of the airwaves.” Ultimately, the show becomes the most highly rated program on television.

But then Beale’s ratings slide as audiences find his sermons on the dehumanization of society depressing.

To rid themselves of Beale and boost their season-opener ratings, the network’s top executives hire a band of terrorists called the Ecumenical Liberation Army to assassinate Beale—on the air!

Forty years after Network, Right-wing voters sent “reality show” host and real estate mogul Donald Trump to the White House. 

Related image

Donald Trump

Republicans have reveled in his antics and enthusiastically supported his most heinous acts, which have included:

  • Repeatedly and viciously attacking the nation’s free press for daring to report his growing list of crimes and disasters, calling it “the enemy of the American people.”
  • Repeatedly “hinting” that he wants to be “President-for-Life.”  
  • Allowing predatory corporations to subvert Federal regulatory protections for consumers and the environment. 
  • Repeatedly and viciously attacking American Intelligence agencies—such as the FBI, CIA and National Security Agency—for unanimously agreeing that Russia interfered with the 2016 Presidential election.
  • Shutting down the Federal Government for more than a month on December 22, 2018, because Democrats refused to fund his “border wall” between the United States and Mexico.
  • Pressuring  Ukrainian President Volodymyr Zelensky to provide “dirt” on Hunter Biden, the son of Democratic Presidential candidate Joseph Biden—and threatening to withhold military aid if Zelensky refused.

The greed-obsessed honchos of the fictional UBS Network believed they could parley Howard Beale’s madness into greater profits.

Similarly, power-obsessed Republicans in the House and Senate believe they can parley Donald Trump’s tyrannical and unstable nature into lifetime tenure for themselves.

They have silently watched—or given their enthusiastic support—as he has attacked one cherished American institution after another:

  • A free press
  • An incorruptible Justice Department
  • An independent judiciary.

Yet, like the executives at UBS, Congressional Republicans may soon be forced to turn on their most poisonous creation.

Right-wing Fox News Network gave its enthusiastic support to Trump during the 2016 Presidential race. And it has continued to do so throughout his almost three-year Presidency.

But on September 21, its website reported the following:

“Fifty-nine percent of voters are extremely interested in the 2020 presidential election. That’s a number typically only seen right before an election.

“In addition, more Democrats (65 percent) than Republicans (60 percent) are extremely interested in the election and more Democrats (69 percent) than Republicans (63 percent) are extremely motivated about voting in 2020.  That helps Democratic candidates top President Donald Trump in potential head-to-head matchups.”

And in a September 22 story, Fox News declared: “Many voters are frustrated with how the federal government is working and a growing number are nervous about the economy….

“Fifty-one percent say the economy is in only fair or poor shape.

“His job ratings on every other issue tested are underwater: national security (45 approve-48 disapprove), immigration (42-54), international trade (38-53), foreign policy (36-54), guns (35-56), health care (34-56), and Afghanistan (31-49).

“Currently, 45 percent approve of the overall job the president’s doing, while 54 percent disapprove.

“About two-thirds (64 percent) think many people — if not nearly all people — in government are corrupt, and almost half (46 percent) say the Trump administration is more corrupt than previous ones.”

Republicans may soon be forced to face the following dilemma:

  1. Can I hold onto my power—and privileges—by supporting Trump?  Or: 
  2. Can I hold onto my power—and privileges—by deserting him?

This is how Republicans define morality today.

COPS AND DRUGS

In Bureaucracy, History, Law, Law Enforcement, Social commentary on February 26, 2016 at 12:05 am

It’s a movie that appeared in 1981–making it, for those born in 2000, an oldie. 

And it wasn’t a blockbuster, being yanked out of theaters almost as soon as it arrived. 

Yet “Prince of the City” remains that rarity–a movie about big-city police that:

  • Tells a dramatic (and true) story; and
  • Offers serious truths about how police and prosecutors really operate. 

It’s based on the real-life case of NYPD Detective Robert Leuci (“Danny Ciello” in the film). 

Robert Leuci (“Danny Ciello” in “Prince of the City”)

A member of the elite Special Investigating Unit (SIU) Ciello (played by Treat Williams) volunteers to work undercover against rampant corruption among narcotics agents, attorneys and bail bondsmen. 

His motive appears simple: To redeem himself and the NYPD from the corruption he sees everywhere: “These people we take from own us.” 

His only condition: “I will never betray cops who’ve been my partners.” 

And Assistant US Attorney Rick Cappalino assures Ciello: “We’ll never make you do something you can’t live with.” 

As the almost three-hour movie unfolds, Ciello finds–to his growing dismay–that there are a great many things he will have to learn to live with. 

Treat Williams as “Danny Ciello”

Although he doesn’t have a hand in it, he’s appalled to learn that Gino Moscone, a former buddy, is going to be arrested for taking bribes from drug dealers. 

Confronted by a high-ranking agent for the Federal Drug Enforcement Agency, Moscone refuses to “rat out” his buddies. Instead, he puts his service revolver to his head and blows out his brains.  

Ciello is devastated, but the investigation–and film–must go on. 

Along the way, he’s suspected by a corrupt cop and bail bondsman of being a “rat” and threatened with death. 

He’s about to be wasted in a back alley when his cousin–a Mafia member–suddenly intervenes. The Mafioso tells Ciello’s would-be killers: “You’d better be sure he’s a rat, because people like him.”

At which point, the grotesquely fat bail bondsman–who has been demanding Ciello’s execution–pats Danny on the arm and says, “No hard feelings.”

It is director Sidney Lumet’s way of graphically saying: “Sometimes the bad guys can be good guys–and the good guys can be bad guys.”

Prince Of The City folded.jpg

Lumet makes it clear that police don’t always operate with the Godlike perfection of cops in TV and films. It’s precisely because his Federal backup agents lost him that Ciello almost became a casualty.  

In the end, Ciello becomes a victim of the prosecutorial forces he has unleashed.  Although he’s vowed to never testify against his former partners, Ciello finds this is a promise he can’t keep.

Too many of the cops he’s responsible for indicting have implicated him of similar–if not worse–behavior. He’s even suspected of being involved in the theft of 450 pounds of heroin (“the French Connection”) from the police property room.

A sympathetic prosecutor–Mario Vincente in the movie, Rudolph Giuliani in real-life–convinces Ciello that he must finally reveal everything he knows.

Ciello’s had originally claimed to have done “three things” as a corrupt narcotics agent. By the time his true confessions are over, he’s admitted to scores of felonies.

Ciello then tries to convince his longtime SIU partners to do the same. One of them commits suicide.  Another tells Ciello to screw himself:  “I’m not going to shoot myself and I’m not going to rat out my friends.”

To his surprise, Ciello finds himself admiring his corrupt former partner for being willing to stand up to the Federal case-agents and prosecutors demanding his head.

The movie ends with a double dose of irony.

First: Armed with Ciello’s confessions, an attorney whom Ciello had successfully testified against appeals his conviction. But the judge rules Ciello’s admitted misdeeds to be “collateral,” apart from the main evidence in the case, and affirms the conviction.

Second: Ciello is himself placed on trial–of a sort. A large group of assistant U.S. attorneys gathers to debate whether their prize “canary” should be indicted. If he is, his confessions will ensure his conviction.

Some prosecutors argue forcefully that Ciello is a corrupt law enforcement officer who has admitted to more than 40 cases of perjury–among other crimes. How can the government use him to convict others and not address the criminality in his own past?

Other prosecutors argue that Ciello voluntarily risked his life–physically and professionally–to expose rampant police corruption. He deserves a better deal than to be cast aside by those who have made so many cases through his testimony.

Eventually, the U.S. Attorney for the Southern District of New York makes his decision: “The government declines to prosecute Detective Daniel Ciello.”

It is Lumet’s way of showing that the decision to prosecute is not always an easy or objective one.

The movie ends with Ciello now teaching surveillance classes at the NYPD Academy. 

A student asks: “Are you the Detective Ciello?”

“I’m Detective Ciello.”

“I don’t think I have anything to learn from you.”  And he walks out.

Is Danny Ciello–again, Robert Leuci in real-life–a hero, a villain, or some combination of the two? It is with this ambiguity that the film ends–an ambiguity that each viewer must resolve for himself.

INFORMANTS VS. RATS

In Bureaucracy, History, Law, Law Enforcement on December 3, 2014 at 12:00 am

In the 1981 police drama, “Prince of the City,” both cops and criminals use plenty of four-letter words.

But the word both groups consider the most obscene is spelled is spelled with three letters: R-a-t.

The movie is based on the true-life story of former NYPD detective Robert Leuci (“Danny Ciello” in the film, and played by Treat Williams).  It’s based on the best-selling nonfiction book, Prince of the City, by Robert Daley, a former deputy commissioner with NYPD.

Leuci/Ciello volunteers to work undercover against massive corruption among lawyers, bail bondsmen and even his fellow narcotics agents.

Along the way, the movie gives viewers numerous insights into not only how real-world cops work but how they see the world–and their role in it.

Robert Leuci (“Danny Ciello” in “Prince of the City”)

In its first scenes, “Prince” shows members of the elite Special Investigating Unit (SIU) preparing for a major raid on an apartment of Columbian drug-dealers.

Ciello, sitting in a restaurant, gets a tip on the Columbians from one of his informants.  He then phones it in to his fellow officers.  Together, they raid the apartment, assault the dealers, and confiscate their drugs and money.

The film makes it clear that even an elite detective squad can’t operate effectively without informants.  And in narcotics cases, these are either addicts willing to sell out their suppliers or other drug-dealers willing to sell out their competitors.

For the cops, the payoff is information that leads to arrests.  In the case of the SIU, that means big, headline-grabbing arrests.

Drug raid

With their superiors happy, the stree-level detectives are largely unsupervised–which is how they like it.  Because most of them are doing a brisk business shaking down drug-dealers for their cash.

For their informants, the payoffs come in several forms, including:

  • Allowing addicts to continue using illegal drugs.
  • Supplying addicts with drugs, such as heroin.
  • Allowing drug-dealers to continue doing business.
  • Supplying drug-dealers with information about upcoming police raids on their locations.

All of these activities are strictly against the law.  But to the men charged with enforcing anti-narcotics laws, this is the price to be paid for effective policing.

But not all police informants are criminals.  Many of them work in highly technical industries–such as  phone companies.

A “connection” such as this is truly prized.  With it, a detective can illegally eavesdrop on the conversations of those he’s targeting.

He doesn’t have to go through the hassles of getting a court-approved wiretap.  Assuming he has enough evidence to convince a judge to grant such a wiretap.

A top priority for any cop–especially a narcotics cop–is protecting the identities of his informants.

At the very least, exposing such identities could lead to embarrassment, unemployment, arrest and imprisonment.  At worst, it could lead to the murder of those informants by enraged criminals.

But there is another reason for protecting the identity of informants: The cop who amasses a roster of prized informants is seen as someone special within the police department, by colleagues and superiors alike.

He knows “something” they do not.  And that “something” allows him to make a lot of arrests–which, in turn, reflects well on the police department.

If those arrests end in convictions, his status within the department is further enhanced.

But while a cop is always on the lookout for informants against potential targets, that doesn’t prevent him from generally holding such people in contempt.

“Rats,” “finks,” “stool pigeons,” “canaries,” “informers”–these are among the more printable terms (for most media) cops use to describe those who betray the trust of others.

Such terms are never used by cops when speaking to their informants.

For cops, the most feared- and -hated part of every police department is its Internal Affairs Division (IAD).  This is the unit charged with investigating allegations of illegal behavior by police.

For most cops, IAD represents the devil incarnate.  Any officer who would be willing to “lock up” a “brother officer” is considered a traitor to the police brotherhood.

Even if that “brother officer” is engaging in behavior that completely violates his sworn oath “to protect and serve.”

In “Prince of the City,” Danny Ciello gives voice to just these feelings.

He’s preparing to betray the trust of his fellow narcotics officers by exposing the massive corruption among them.  Yet he fiercely rejects the idea that he is a “rat.”

“A rat is when they catch you and make you an informer,” he tells his wife.  “This is my game.”

Ciello has volunteered to obtain evidence of corruption; he’s not under some prosecutor’s thumb.  That, to him, makes him different from a “rat.”

Of course, once Ciello’s cover is blown and his fellow cops learn what he has done, they will forever brand him a “rat,” the worst sort of turncoat.

The movie ends with Ciello now teaching surveillance classes at the NYPD Academy.  A student asks: “Are you the Detective Ciello?”

“I’m Detective Ciello.”

“I don’t think I have anything to learn from you.”

For viewers seeking to learn the workings–and mindsets–of real-world police agencies,  “Prince of the City” has a great many lessons to teach.

THE TRUTH ABOUT COPS–AND DRUGS

In Bureaucracy, History, Law, Law Enforcement, Social commentary on May 7, 2014 at 12:02 am

It’s a movie that appeared 32 years ago–making it, for those born in 2000, an oldie.  And it wasn’t a blockbuster, being yanked out of theaters almost as soon as it arrived.

Yet “Prince of the City” (1981) remains that rarity–a movie about big-city police that

  • Tells a dramatic (and true) story, and
  • Offers serious truths for those who want to know how police and prosecutorial bureaucracies really operate.

It’s based on the real-life case of NYPD Detective Robert Leuci (“Danny Ciello” in the film).

Robert Leuci

A member of the elite Special Investigating Unit (SIU) Ciello (played by Treat Williams) volunteers to work undercover against rampant corruption among narcotics agents, attorneys and bail bondsmen.

His motive appears simple: To redeem himself and the NYPD from the corruption he sees everywhere:  “These people we take from own us.”

His only condition: “I will never betray cops who’ve been my partners.”

Assistant US Attorney Rick Cappalino assures Ciello: “We’ll never make you do something you can’t live with.”

As the almost three-hour movie unfolds, Ciello finds–to his growing dismay–that there are a great many things he will have to learn to live with.

Although he doesn’t have a hand in it, he’s appalled to learn that Gino Moscone, a former buddy, is going to be arrested for taking bribes from drug dealers.

Confronted by a high-ranking agent for the Drug Enforcement Agency, Moscone refuses to “rat out” his buddies.

Instead, he puts his service revolver to his head and blows out his brains.

Prince Of The City folded.jpg

Ciello is devastated, but the investigation–and film–must go on.

Along the way, he’s suspected by a corrupt cop and bail bondsman of being a “rat” and threatened with death.  He’s about to be wasted in a back alley when his cousin–a Mafia member–suddenly intervenes.

The Mafioso tells Ciello’s would-be killers: “You’d better be sure he’s a rat, because people like him.”

At which point, the grotesquely fat bail bondsman–who has been demanding Ciello’s execution–pats Danny on the arm and says, “No hard feelings.”

It is director Sidney Lumet’s way of graphically saying: “Sometimes the bad guys can be good guys–and the good guys can be bad guys.”

Lumet makes it clear that police don’t always operate with the Godlike perfection of cops in TV and films. It’s precisely because his Federal backup agents lost him that Ciello almost became a casualty.

In the end, Ciello becomes a victim of the prosecutorial forces he has unleashed.  Although he’s vowed to  never testify against his former partners, Ciello finds this a promise he can’t keep.

Too many of the cops he’s responsible for indicting have implicated him of similar–if not worse–behavior.

He’s even suspected of being involved in the theft of 450 pounds of heroin (“the French Connection”) from the police property room.

A sympathetic prosecutor–Mario Vincente in the movie, Rudolph Giuliani in real-life–convinces Ciello that he must finally reveal everything he knows.

Ciello’s had originally claimed to have done “three things” as a corrupt narcotics agent.  By the time his true confessions are over, he’s admitted to scores of felonies.

Ciello then tries to convince his longtime SIU partners to do the same.

One of them commits suicide.  Another tells Ciello to screw himself:  “I’m not going to shoot myself and I’m not going to rat out my friends.”

To his surprise, Ciello finds himself admiring his corrupt former partner for being willing to stand up to the Federal case-agents and prosecutors demanding his head.

The movie ends with a double dose of irony.

First: Armed with Ciello’s confessions, an attorney whom Ciello had successfully testified against appeals his conviction.  But the judge rules these to be “collateral,” apart from the main evidence in the case, and affirms the conviction.

Second: Ciello is himself placed on trial–of a sort.  A large group of assistant U.S. attorneys gathers to debate whether their prize “canary” should be indicted.

If he is, his confessions will ensure his conviction.

Some prosecutors argue forcefully that Ciello is a corrupt law enforcement officer who has admitted to more than 40 cases of perjury–among other crimes.  How can the government use him to convict others and not address the criminality in his own past?

Other prosecutors argue that Ciello voluntarily risked his life–physically and professionally–to expose rampant police corruption.  He deserves a better deal than to be cast aside by those who have made so many cases through his testimony.

Eventually, the U.S. Attorney for the Southern District of New York makes his decision: “The government declines to prosecute Detective Daniel Ciello.”

It is Lumet’s way of showing that the decision to prosecute is not always an easy or objective one.

The movie ends with Ciello now teaching surveillance classes at the NYPD Academy.  A student asks: “Are you the Detective Ciello?”

“I’m Detective Ciello.”

“I don’t think I have anything to learn from you.”

Is Danny Ciello–again, Robert Leuci in real-life–a hero, a villain, or some combination of the two?  It is with this ambiguity that the film ends–an ambiguity that each viewer must resolve for himself.

INFORMANTS VS. RATS

In Bureaucracy, History, Law, Law Enforcement, Social commentary on October 31, 2013 at 2:09 am

In the 1981 police drama, “Prince of the City,” both cops and criminals use plenty of four-letter words.

But the word both groups consider the most obscene is spelled is spelled with three letters: R-a-t.

The movie is based on the true-life story of former NYPD detective Robert Leuci (“Danny Ciello” in the film, and played by Treat Williams).  It’s based on the best-selling nonfiction book, Prince of the City, by Robert Daley, a former deputy commissioner with NYPD.

Leuci/Ciello volunteers to work undercover against massive corruption among lawyers, bail bondsmen and even his fellow narcotics agents.

Along the way, the movie gives viewers numerous insights into not only how real-world cops work but how they see the world–and their role in it.

In its first scenes, “Prince” shows members of the elite Special Investigating Unit (SIU) preparing for a major raid on an apartment of Columbian drug-dealers.

Ciello, sitting in a restaurant, gets a tip on the Columbians from one of his informants.  He then phones it in to his fellow officers.  Together, they raid the apartment, assault the dealers, and confiscate their drugs and money.

The film makes it clear that even an elite detective squad can’t operate effectively without informants.  And in narcotics cases, these are either addicts willing to sell out their suppliers or other drug-dealers willing to sell out their competitors.

For the cops, the payoff is information that leads to arrests.  In the case of the SIU, that means big, headline-grabbing arrests.

With their superiors happy, the stree-level detectives are largely unsupervised–which is how they like it.  Because most of them are doing a brisk business shaking down drug-dealers for their cash.

For their informants, the payoffs come in several forms, including:

  • Allowing addicts to continue using illegal drugs.
  • Supplying addicts with drugs, such as heroin.
  • Allowing drug-dealers to continue doing business.
  • Supplying drug-dealers with information about upcoming police raids on their locations.

All of these activities are strictly against the law.  But to the men charged with enforcing anti-narcotics laws, this is the price to be paid for effective policing.

But not all police informants are criminals.  Many of them work in highly technical industries–such as  phone companies.

A “connection” such as this is truly prized.  With it, a detective can illegally eavesdrop on the conversations of those he’s targeting.

He doesn’t have to go through the hassles of getting a court-approved wiretap.  Assuming he has enough evidence to convince a judge to grant such a wiretap.

A top priority for any cop–especially a narcotics cop–is protecting the identities of his informants.

At the very least, exposing such identities could lead to embarrassment, unemployment, arrest and imprisonment.  At worst, it could lead to the murder of those informants by enraged criminals.

But there is another reason for protecting the identity of informants: The cop who amasses a roster of prized informants is seen as someone special within the police department, by colleagues and superiors alike.

He knows “something” they do not.  And that “something” allows him to make a lot of arrests–which, in turn, reflects well on the police department.

If those arrests end in convictions, his status within the department is further enhanced.

But while a cop is always on the lookout for informants against potential targets, that doesn’t prevent him from generally holding such people in contempt.

“Rats,” “finks,” “stool pigeons,” “canaries,” “informers”–these are among the more printable terms (for most media) cops use to describe those who betray the trust of others.

Such terms are never used by cops when speaking to their informants.

For cops, the most feared- and -hated part of every police department is its Internal Affairs Division (IAD).  This is the unit charged with investigating allegations of illegal behavior by police.

For most cops, IAD represents the devil incarnate.  Any officer who would be willing to “lock up” a “brother officer” is considered a traitor to the police brotherhood.

Even if that “brother officer” is engaging in behavior that completely violates his sworn oath “to protect and serve.”

In “Prince of the City,” Danny Ciello gives voice to just these feelings.

He’s preparing to betray the trust of his fellow narcotics officers by exposing the massive corruption among them.  Yet he fiercely rejects the idea that he is a “rat.”

“A rat is when they catch you and make you an informer,” he tells his wife.  “This is my game.”

Ciello has volunteered to obtain evidence of corruption; he’s not under some prosecutor’s thumb.  That, to him, makes him different from a “rat.”

Of course, once Ciello’s cover is blown and his fellow cops learn what he has done, they will forever brand him a “rat,” the worst sort of turncoat.

The movie ends with Ciello now teaching surveillance classes at the NYPD Academy.  A student asks: “Are you the Detective Ciello?”

“I’m Detective Ciello.”

“I don’t think I have anything to learn from you.”

For viewers seeking to learn the workings–and mindsets–of real-world police agencies,  “Prince of the City” has a great many lessons to teach.

THE TRUTH ABOUT COPS–AND A GREAT MOVIE

In Bureaucracy, History, Law, Law Enforcement, Social commentary on October 30, 2013 at 1:36 am

It’s a movie that appeared in 1981–making it, for those born in 2000, an oldie.  And it wasn’t a blockbuster, being yanked out of theaters almost as soon as it arrived.

Yet “Prince of the City” remains that rarity–a movie about big-city police that

  • Tells a dramatic (and true) story, and
  • Offers serious truths for those who want to know how police and prosecutors really operate.

It’s based on the real-life case of NYPD Detective Robert Leuci (“Danny Ciello” in the film).

A member of the elite Special Investigating Unit (SIU) Ciello (played by Treat Williams) volunteers to work undercover against rampant corruption among narcotics agents, attorneys and bail bondsmen.

His motive appears simple: To redeem himself and the NYPD from the corruption he sees everywhere:  “These people we take from own us.”

His only condition: “I will never betray cops who’ve been my partners.”

Assistant US Attorney Rick Cappalino assures Ciello: “We’ll never make you do something you can’t live with.”

As the almost three-hour movie unfolds, Ciello finds–to his growing dismay–that there are a great many things he will have to learn to live with.

Although he doesn’t have a hand in it, he’s appalled to learn that Gino Moscone, a former buddy, is going to be arrested for taking bribes from drug dealers.

Confronted by a high-ranking agent for the Drug Enforcement Agency, Moscone refuses to “rat out” his buddies.

Instead, he puts his service revolver to his head and blows out his brains.

Prince Of The City folded.jpg

Ciello is devastated, but the investigation–and film–must go on.

Along the way, he’s suspected by a corrupt cop and bail bondsman of being a “rat” and threatened with death.  He’s about to be wasted in a back alley when his cousin–a Mafia member–suddenly intervenes.

The Mafioso tells Ciello’s would-be killers: “You’d better be sure he’s a rat, because people like him.”

At which point, the grotesquely fat bail bondsman–who has been demanding Ciello’s execution–pats Danny on the arm and says, “No hard feelings.”

It is director Sidney Lumet’s way of graphically saying: “Sometimes the bad guys can be good guys–and the good guys can be bad guys.”

Lumet makes it clear that police don’t always operate with the Godlike perfection of cops in TV and films. It’s precisely because his Federal backup agents lost him that Ciello almost became a casualty.

In the end, Ciello becomes a victim of the prosecutorial forces he has unleashed.  Although he’s vowed to  never testify against his former partners, Ciello finds this a promise he can’t keep.

Too many of the cops he’s responsible for indicting have implicated him of similar–if not worse–behavior.

He’s even suspected of being involved in the theft of 450 pounds of heroin (“the French Connection”) from the police property room.

A sympathetic prosecutor–Mario Vincente in the movie, Rudolph Giuliani in real-life–convinces Ciello that he must finally reveal everything he knows.

Ciello’s had originally claimed to have done “three things” as a corrupt narcotics agent.  By the time his true confessions are over, he’s admitted to scores of felonies.

Ciello then tries to convince his longtime SIU partners to do the same.

One of them commits suicide.  Another tells Ciello to screw himself:  “I’m not going to shoot myself and I’m not going to rat out my friends.”

To his surprise, Ciello finds himself admiring his corrupt former partner for being willing to stand up to the Federal case-agents and prosecutors demanding his head.

The movie ends with a double dose of irony.

First: Armed with Ciello’s confessions, an attorney whom Ciello had successfully testified against appeals his conviction.  But the judge rules these to be “collateral,” apart from the main evidence in the case, and affirms the conviction.

Second: Ciello is himself placed on trial–of a sort.  A large group of assistant U.S. attorneys gathers to debate whether their prize “canary” should be indicted.

If he is, his confessions will ensure his conviction.

Some prosecutors argue forcefully that Ciello is a corrupt law enforcement officer who has admitted to more than 40 cases of perjury–among other crimes.  How can the government use him to convict others and not address the criminality in his own past?

Other prosecutors argue that Ciello voluntarily risked his life–physically and professionally–to expose rampant police corruption.  He deserves a better deal than to be cast aside by those who have made so many cases through his testimony.

Eventually, the U.S. Attorney for the Southern District of New York makes his decision: “The government declines to prosecute Detective Daniel Ciello.”

It is Lumet’s way of showing that the decision to prosecute is not always an easy or objective one.

The movie ends with Ciello now teaching surveillance classes at the NYPD Academy.  A student asks: “Are you the Detective Ciello?”

“I’m Detective Ciello.”

“I don’t think I have anything to learn from you.”

Is Danny Ciello–again, Robert Leuci in real-life–a hero, a villain, or some combination of the two?  It is with this ambiguity that the film ends–an ambiguity that each viewer must resolve for himself.

%d bloggers like this: