R | 2h 47m | Crime, Drama | 1981
“Serpico” provided a street-level perspective of its main protagonist (played by Al Pacino) in the gritty crime drama. Similarly, “Prince of the City” (1981) follows the journey of a young New York City Police detective as he maneuvers through the murky underbelly of the Big Apple.
Both films are grounded in the lives of real-life police detectives. “Prince of the City” draws from the experiences of NYPD detective Robert Leuci, portrayed as Daniel Ciello in the film. Like Serpico, Ciello bravely blew the whistle on corruption within the police department and the criminal justice system. The film is based on Robert Daley’s 1978 novel, “Prince of the City: The True Story of a Cop Who Knew Too Much,” which was penned by Daley, a former NYPD police officer himself.
Rogue Cops
Treat Williams takes on the role of NYPD Detective Daniel “Danny” Ciello, a young and ambitious narcotics detective who thrives on the adrenaline rush of chasing down suspects. He leads a dynamic team of detectives, known informally as the “Princes of the City,” or officially as the Special Investigative Unit (S.I.U.). Ciello and his squad operate with a considerable degree of autonomy. With virtually free rein to combat the drug trade, they employ whatever means necessary to make an impact.From the outside, Danny appears to have it all. He’s happily married to his wife Carla (Lindsay Crouse), has a loving family, and resides in a spacious home far from the city’s chaos. However, beneath this façade lies moral compromise. Danny and his squad engage in criminal activities as part of their anti-crime operations, including perjury, extortion, bribery, and supplying drugs to their favored informants who are addicts.
The first significant sign of trouble arises when Danny’s drug-addicted brother, Ronnie (Matthew Laurance), unexpectedly crashes a backyard barbecue hosted by the S.I.U. members. In a drugged-out tirade, Ronnie loudly admonishes their illegal activities, much to the shock of their family members. Ronnie’s father, however, has noticed the group’s extravagant lifestyles, marked by expensive jewelry and substantial cash.
Soon after, New York Assistant U.S. Attorney Rick Cappalino (Norman Parker) summons Danny to his office. While he assures Danny that he’s not in trouble, there’s a subtle suggestion that he may be aware of the S.I.U.’s activities. Despite Danny’s vehement denials, his conflicted demeanor hints at an inner struggle taking place.
Danny entertains Cappalino’s offer to come forward if he has a change of heart about exposing corruption. However, each time they meet, Danny gets cold feet and fails to provide any substantial information.
A pivotal moment occurs when Danny, while procuring heroin for one of his junkie informants, resorts to violence to rob another addict. Troubled by his own actions, Danny decides to cooperate with the federal authorities. He agrees to wear a wire for the U.S. Department of Justice, gathering evidence against various criminals, including mobsters, drug dealers, and even corrupt government officials.
While Danny vows not to implicate his immediate law enforcement partners in the S.I.U., he becomes disillusioned with the lies they routinely tell one another. Despite their claims that their illegal actions are justified by their contributions to fighting crime, Danny no longer buys into their justifications.
Dilemmas
Cielo’s actions to expose corruption put him in grave danger, but they also serve as a form of redemption for his own moral compromises. His efforts lead to a complex web of deception to conceal his transgressions. As the investigation expands, ensnaring everyone involved, including Ciello himself, the film showcases the pervasive reach of corruption and its consequences.“I sleep with my wife, but I live with my partners.” At first, this seems to sum up Ciello’s concept of loyalty among police officers. However, the film vividly illustrates how corruption can infiltrate almost any system, regardless of its initial intentions, affecting individuals within those systems as well.
Ciello’s journey isn’t about straightforward redemption; it’s a nuanced battle to escape moral compromise. Despite his flaws, Ciello attains a sense of integrity, highlighting the film’s central enigma from start to finish. His efforts to make amends without full disclosure only worsen his plight, offering a valuable lesson.
Treat Williams adeptly portrays these inner conflicts through his varied facial expressions and occasionally frenetic body language. Additionally, portraying an Italian American character, he employs extensive hand gestures while speaking.
This film boasts a vast cast of characters, prompting occasional introduction cards for new characters to keep track of the intricate narrative. With numerous people and situations to follow, I often found myself rewinding for clarity.
“Prince of the City” stands as another thought-provoking crime drama from Lumet, joining the ranks of “Serpico” and “Night Falls on Manhattan.” Clocking in at nearly three hours, and featuring a diverse cast of fascinating characters, it delivers an intriguing exploration of crime, punishment, and redemption.
