User reviews

Joseph Wambaugh has written a lot of great books over the four decades of his literary career. My experience with him started in eighth grade in 1972 when I read The New Centurions, a blisteringly honest and terrifying book about the lives of three rookie patrolman in LA during the early 60s. It was easily the most grown-up book I had ever read (my mom thumbed through it and was appalled at the language; yet she let me finish it) and when I got to see the 1972 movie (butchered on NBC in '73 or '74), I had reread it and knew everything the little old ladies with the scissors had hacked out. Even with the obligatory mangling for our living room sensibilities, Richard Fleischer's film is a well-acted and gritty TV-looking version of Wambaugh's great, searing novel.

For the most part, the casting--THE critical step to putting the book on screen--was dead on. Stacy Keach nails Roy Fehler, George C. Scott is a slightly more buff, less urbane Andy Kilvinsky, and Jane Alexander (who is beautiful because she isn't) embodies Fehler's estranged wife, Dorothy). My only complaint is in casting Erik Estrada as Sergio. I know why he was picked--a blonde Hispanic would have confused viewers who had not read the book, but some skilled writing may have gotten the real Sergio across on screen. This is no insult to Estrada. He's hardly on screen, but this was before the excremental CHIPS, the show that ruined his career while making him a household name, and he is quite good for the few minutes we get him.

The problem with The New Centurions is that, since it is designed for mass consumption, it has been rendered more TV cop drama than searing expose of urban policing. It looks authentic, but the color and depth of the images never really fill the wide screen, dooming it to look like it belongs on the small one.

In comparison though, this is a much more successful adaptation of a Wambaugh work than the open-mouthed horror of Robert Aldrich's The Choirboys. That book was even more dark (how Wambaugh was able to make such a brutal novel so funny is still an amazement to me), but the 1977 movie was about as awful--and unfunny--as you could ever hope to miss.

Which, in comparison, makes The New Centurions all the better. Don't get me wrong, TNC is a flawed film, but it is a good one on the whole. I would just, strongly, suggest you read the book--and The Choirboys--first to get the real flavor of one of America's better crime writers (and social critics).

George C. Scott is a cool, uniformed policeman who employs his own unique methods of dealing with petty crime – once again, it's the character who knows his beat and knows how to keep it under control…

Faced with the task of rounding up prostitutes in the local Red Light district, Scott is well aware that dragging them into court will result only in nominal fines and a great deal of wasted time… So he packs them into a patrol wagon and drives them around the streets for the rest of the night, thus losing them a night's earnings and at the same time keeping the streets reasonably tidy...

Scott isn't in the least vindictive; he is merely keeping the peace in accordance with his own law… He even takes the trouble to stop the truck and buy them a bottle of Whisky with which to while the night away…

Yet this cop is a fast man with a gun… He is also the kind of policeman who is capable of administering a beating to the wrongdoers

I recently bought the Season One DVD set for "Police Story"--the cop show from the 70s that was inspired by Joseph Wambaugh's film "The New Centurions". So far, I've really enjoyed "Police Story"--and am sad that only the first season is on DVD. So, in consolation, I decided to at least see "The New Centurions".

Like "Police Story", "The New Centurions" does not whitewash police work. The language is very earthy, to say the least--especially since it didn't need to worry about television audiences and was rated R. It shows the interesting side as well as the downside--and all through the perspective of a rookie cop, Fehler (Stacy Keach), as you follow his through the years. There is a HUGE price to pay for loving a job like this--as his marriage falls apart and he pretty much gives his life for the department.

I have noticed that other reviewers talk about Fehler's partner, Kilvinski (George C. Scott). He was a HUGE presence in the film, though he's only in about half the film. Apart from that, Fehler had other partners and a variety of experiences that all pushed him almost over the edge. Dealing with drinking, PTSD and more is what makes this cop film quite unusual--and well worth your time. Exceptionally well made and a film that revels in NOT being like cop films of the 30s, 40s and 50s!! Exceptional acting and writing make this a standout film.

"The New Centurions" should have a solid 8.5 rating, rather than just a 7. This is an under- rated film about the general lives of police officers from a Los Angeles Precinct. George C. Scott and Stacy Keach lead the way as two police officers who are initially teamed up for night duty around Los Angeles. Following a few incidents, they get re-assigned different partners until Stacy Keach is transfered to the vice squad and George C. Scott retires from the force. The film wisely avoids any kind of trendy or glamorous approach to Police work. It is just shown for what it is - a dirty job that someone has to do. The police officers aren't shown to be more heroic than the average person but dedicated and good at their jobs. There is some good action along the way but "The New Centurions" works due to the acting, writing and direction. The recent British DVD release has brilliant sound and picture quality.

Roy Fehler (Stacy Keach), Gus Plebesly (Scott Wilson), and Sergio Duran (Erik Estrada) are rookie police patrolmen. Roy hopes to become a lawyer and his police work inevitably causes friction with his wife Dorothy (Jane Alexander). He's paired with experienced cop Andy Kilvinski (George C. Scott) who expounds his Kilvinski's Law on the tough streets of LA. Gus is by-the-book with 3 kids. He's paired with Whitey (Clifton James) and accidentally kills an unarmed man.

This is episodic in nature and is more TV than cinema. It fits a lot better as an ongoing TV show. It has a fun early moment of a fake impromptu divorce of a battling drunken couple. It's sardonic and crass. George C. Scott is operating at the top of his game. His performance fills his scenes. This would work better as a movie if it has a definitive central case or villain or incident. This is the opposite of slick. I can certainly see many later TV cop shows using this movie as a template.

Stacy Keach and George C. Scott star in this very gritty, very honest portrayal of early-70s police life. It's directed by Richard Fleischer, who usually worked on much flashier material than this. I've seen a lot of films that dug in and tried to paint a clear image of police life, but this story brings a level of realism that is somewhat missing in most cases - it was written by a cop (Joseph Wambaugh).

"The New Centurions" is a title that hints at a much deeper perspective into familiar territory. Even though all the suspected clichés are still somewhat in place, they're there out of reality rather than just filling space in a movie plot. George C. Scott's character is on his way to retirement, but instead of him not making it, he takes a much darker path. It's that darker path, and the sense of hope behind it, that informs both Scott and Keach in their fantastic performances. They're as good as they'd ever been here - deep, powerful, and incredibly personal. There's a real emotional vulnerability on display that can't be denied.

Wanting a better life for his family, Keach enlists with the LAPD to supplement his wife's meagre income while he attends law school. But the job soon becomes all consuming leading to the breakdown of his marriage to Alexander whose support wanes in the face of constant neglect playing second fiddle to the force. In turn, Keach loses touch with reality whereby he questions his motivations for remaining in situ, but the job compels him to endure. After a litany of setbacks, alcoholic and facing ruin, he's briefly resurrected by Cash, taking pity on his misguided loyalty, and helping him to re-discover the purpose he once idealised. Rich, rewarding tale of an everyday struggle is told in a rather grim but entertaining fashion by accomplished director Fleischer.

Despite solid performances from Keach and Alexander in particular, this is George C.Scott's movie, as the maverick older statesman with nothing but the badge to define his identity. His character is a scene stealer, and is at times, fierce, frightening, benevolent and ultimately, very bleak. The highly emotional scene in which Scott telephones Keach and relays the metaphor of the old man and his burglar, resonates throughout the remainder of the film, and beyond.

There's not the synergism that you'd expect and if it weren't for the distinction that Scott, Alexander and Wilson as the modest rookie, each bring to their respective characterisations, "The New Centurions" would be just another police story, and this is evidenced to a degree when their characters are no longer in focus. A very capable and vast supporting cast bring a gritty reality, and the story ebbs and flows toward a sudden and unexpected climax. The anguish experienced by the characters is palpable, and every time the mood brightens, there's another catastrophe waiting. Probably not the movie to watch before joining the academy, but highly entertaining and thought-provoking nonetheless.

Good little film, about the ins & outs of a group of cops in LA in the early 70's. Good eye for detail, and another fine performance by George C. Scott. This guy was on a roll back then. Having finished up the 60's w/ "Petulia", then "Patton", followed by the excellent gem "The Hospital", it was almost a couldn't miss. True to life depiction, bogged down just a bit by melodrama & cliche'-ridden script. Stacy Keach fine in this as well.

I do rate Joseph Wambaugh as a good writer . Okay so he only writes police stories but JK Rowling brings out the same book every year and no one complains about that . If there is any fundamental problem with his books it`s that they lack a central plot . It`s a problem with THE CHOIRBOYS and it`s possibly a problem with THE NEW CENTURIONS , both stories being rather episodic . That said this is a fairly well acted gritty cop film ( The scene with the baby made me squirm ) with lighter moments such as the scene in the park late at night . It`s also a film that explains where the title comes from , something screenwriters seem to have forgotten about nowadays

A 1972 adaptation of Joseph Wambaugh's novel directed by Richard Fleischer (Fantastic Voyage/The Narrow Margin). Wambaugh, the preeminent crime writer of his era (I would also recommend his film version of the excellent The Onion Field from 1978, I think) details the ups & downs & extremely episodic nature of policemen & their time on the force following a rookie, played by Stacy Keach, & the old pro, played by George C. Scott. Through various escapades we learn the nitty gritty of the LA boys in blue as they deal w/an assortment of cases (much like Adam 12 did in the 60's on TV) as cops are on patrol & calls come in for them to deal with. No big bad guy or overriding crime is dealt w/here since the focus is on character rather plot. We see Keach's marriage falter (his wife played by Jane Alexander) as his stated intention to continue his career through law school is curtailed when he finds he's developing a genuine taste for the job while Scott, a single guy (we presume he's divorced or his wife has passed) is about to retire & go live w/his daughter & kids in Florida. Through it all, we see the toll the job takes on the men we've come to rely & respect as they're shown to be human after all as limned by screenwriter Stirling Silliphant. A great supporting cast fill out the proceedings like Clifton James, James B. Sikking, Scott Wilson (Herschel from The Walking Dead), the late, great Ed Lauter, William Atherton (from Ghostbusters), Erik Estrada (from CHIPS who I think was dubbed over whenever he spoke Spanish since he claims he never learned the language growing up) & Dolph Sweet (from Gimme a Break) as cops while perps are played by Isabel Sanford (from The Jeffersons playing a hooker here), Roger E. Mosley (from Magnum PI) & Pepe Serna.

THE NEW CENTURIONS is a trend-setting police procedural thriller based on a best-selling novel that was itself written by a Los Angeles cop. It's a gritty and grimly realistic portrayal of the unrewarding life of a cop, where murder and alcoholism are just around the corner and the best thing a guy can hope for is not to be killed outright on the street that day. It's clear that this film was hugely inspirational, inspiring countless TV shows up to the present day, like the reality show COPS. I just wish the overrated END OF WATCH could have been more like this. Still, I digress: THE NEW CENTURIONS is blessed with an excellent cast that really brings the episodic storyline to life.

Headlining the cast is the ever-tough George C. Scott playing, you guessed it, a real hard-ass of a cop who takes rookie officer Stacy Keach (young, thin, and handsome) under his wing. The pair spend their time busting drug dealers, hookers, and armed robbers, all the while interacting with other officers in the precinct. These include an impossibly young Scott Wilson (THE WALKING DEAD), playing alongside Clifton James (LIVE AND LET DIE) and an equally youthful Erik Estrada. THE NEW CENTURIONS is a well made production, and I appreciated the excessively downbeat and pessimistic tone which is no surprise given director Richard Fleischer had recently shot 10 RILLINGTON PLACE.

One of the great cop movies of all time, "The New Centurions" has a powerhouse cast, and puts the audience right in the middle of the policeman's daily workday. Rather than one long drawn out investigation, this film is a ride along sharing the important as well as mundane responses to those who break the law. In addition to George C. Scott as the grizzled, about to retire, veteran, there are new recruits Scott Wilson, and the film's main focus Stacy Keach. Also on board in supporting roles are Ed Lauter and Dolph Sweet. The movie is engaging, humorous, and exciting, in other words immensely entertaining. The wonderful performances and gritty Los Angeles locations make this without a doubt a cop movie not to be missed. - MERK

Under- and over- rated at the time ('72), appropriately a good time in America to begin the Wambaugh cop legacy, this film has wonderful moments, but as a film it's a letdown overall. George C. is the best as always, Scott Wilson in a supporting role is crucially vibrant, and Stacy Keach at the HEIGHT of his wonderful movie beginnings is this Roy character (with great wife and actress Jane Alexander), but the script goes south 1/2 through trying to appeal to everybody, which was unnecessary in the early 70's. Keach (so great in BREWSTER McCLOUD, HEART IS A LONELY HUNTER, JUDGE ROY BEAN, FAT CITY, etc. .etc.) did a great job with crumby lines, trying to be (in his words)..super-cop). A decent well-made whatever. Scott's final scene = free acting lession to punks.

A 5 out of 10. Best performance = G.C. Scott. Worth the time; don't expect art and you'll see some cool stuff..Rosalind Cash, you know.

The New Centurions is based off of a book by Joseph Wambaugh who was an actual police officer. Bcause of this the movie has a veracity and rawness to it and doesn't skip over the mundaneness of the job or daily grind like many police movies. The movie though is just a collection of incidents and scenes that don't amount to more than a look at the life of a 70's cop.

Stacey Keach isn't bad but George C Scott is undoubtedly the best thing in it and without his presence the weakly binded movie just falls apart.