lost-in-limbo Gee… doesn't the 70s have some cracking crime thrillers… some of these even fall in the cracks, which this one undeservedly does and in which case I would put it down as one of the best the decade had to offer. Writer / director Peter Hyams' debut feature "Busting" is an excellently pitched comedy thriller with outstanding performances by Elliott Gould and Robert Blake as two Los Angeles vice squad officers Michael Keneely and Patrick Farrel who rage a war against a well-respected crime kingpin Carl Rizzo (Allen Garfield), but also find themselves fighting corruption inside the force for their constant harassing of Rizzo. There they decide if it means doing things outside the book, well they'll do it to get their man.The surefooted plot might seem dated and rather routine (frustrated cops battling criminals and the law, in which they feel like they are fighting a lost cause), but the innovative script is constantly witty / stinging in its observations (that especially goes for its downbeat, but ironic conclusion) and the chemistry between Gould and Blake simply ignites. The narrative seems to be strung together by sporadic plot threads, but there's a certain awkwardness to its cynical approach that just makes it so odd. The interchanges between the two cops and also with Garfield are bitingly dry, but enjoyably so. While there's a playful tongue-in-cheek style, it can be exhaustingly aggressive (you know the brutality featuring red paint) and edgy. Hyams skilfully stages the lean action with gritty, but frenetic authenticity as the bombastic score kicks in. Watch how the camera-work always instinctively moves around, like it has a mind of its own by following the action with numerous tracking shots. Just look at the relentlessly thrilling market store shootout / chase. Earl Rath does a hypnotic job behind the camera. Hyams keeps it snappy and makes great use of the grungy urban setting and seedy strips that really do bring the film to life. The cast are fantastic in their roles. Garfield reeks of confidence and the support features the likes of William Sylvester, Logan Ramsey, Michael Learner, Antonio Fargas, Corbelia Sharpe and the dominating Sid Haig as Rizzo's bouncer."Gotta stay alive man. Gotta stay alive."

jzappa Busting is a cop show encapsulated, purely episodic in structure as the two vice cop heroes team on various assorted cases, with unstable degrees of success. It's in keeping with the refreshing realism of this period in the film's genre, as it's exceedingly cynical, robustly indicating that crime does pay, and that the biggest criminals in society are dishonest politicians and businessmen who will never be penalized. Were the production not as befuddled and awkward, this rather poorly titled actioner could easily rank among the two French Connections, Bullitt and the Dirty Harry series.Against an abrasive cityscape of backstreets and littered alleyways, Elliott Gould and Robert Blake star as vagabond vice squad detectives, the type who in actuality set the judicial system back decades. Elliott Gould, the tall one, incessantly chews bubble gum, ambles somewhat hunched and talks in the manner of someone fashioning himself on the star of an Elliott Gould movie, which is awesome. Robert Blake, an unlit cigarette inexplicably hanging from his lips, behaves like a guy who wishes he were tall and realizes he never will be. It doesn't trouble him, though it makes him a bit less compromising than most guys.Gould and Blake inhabit their work lock, stock and barrel. They consume most of their time apprehending people who are more of a perceived threat to society than a real one: call girls, massage parlor staff and gay bar regulars. It's simply what they do to keep the wheels turning, like road cleaners. It's one of the existential quirks of Busting that when the vice boys do get mixed up in their work, when they find themselves pursuing the Mr. Big accountable for the considerable multi-million-dollar L.A. rackets in addition to the trivial ones, they get thumped, both by the crooks and by their Police Department superiors who may, it would seem, stand for the posture of the society whose protectors they are: The action sooner or later gets around to charging Allen Garfield, cast as a local peer of the realm, with practically all illegal goings-on in town. Garfield, as ever an exceptional actor, brings poise and a sense of being wholly together to the role.As bemused as the Philip Marlowe Gould interpreted a year before in Altman's brilling Long Goodbye, this 1974 film was the first film by Hyams. His aptitude as a director is more apparent in this film than in any other he's done perhaps, especially in the visual highlights and in the performances. I have an idea that that the qualities of Gould and Blake, instead of the screenplay, are answerable for the distinctness provided the roles. They try a bit too hard for idiosyncrasy and funny habit, nonetheless they're effective at establishing particular characters.Hyams engineered something of an achievement by crafting a rough cop film sans taking advantage of the right-wing scorn that warns us all to arm ourselves. I.e., it recognizes that when cops and robbers are firing guns at each other in open places, the lookers-on aren't impervious to the bullets. When Gould and Blake chase some heroin pushers through a supermarket in a continuous gunfight, the movie shares the panic of the bystanders to the extent that it does the tension of the pursuit. It's this plane of alertness that secedes this possibly pioneering buddy cop picture from the subsequent second-hand goods in marketeering mockery of the genre that was given that healthy dose of gritty reality in the 1970s, not only by transcendent pictures like The French Connection and classics like Dirty Harry, but even bargains like Busting.

Michael Gould and 'Our Gang' regular Blake play a couple of vice cops who give up on the rest of their lazy and thick-headed department and decide to go about cleaning up the streets single-handedly (come on people, Eastwood, Friedkin and Michael Winner had already done their stuff). Enter every crime/sleaze caricature imaginable, and in 70s gear to boot.Hyams' first feature is a very straight-faced but contemporarily 'hip' outing, which here and there seems inevitably hilariously dated in its trappings and social mores now, but also doesn't stray too inconsequentially from the tested 'buddy movie' formula. It's got a fine cast and Hyams' action style certainly won't disappoint fans of his later work. In terms of violence, there is certainly a not-inconsiderable brutality quotient, but I don't know whether I was getting the complete picture in this BBC print, as the BBFC website indicates that 30-odd seconds (of what, not specified) were originally cut for both Cinema and Video.

rosscinema This was Peter Hyams directorial debut and he does show some of the elements that would later make him a very good filmmaker. Elliott Gould and Robert Blake play two vice cops who are tired of they're job until they try and bust a hooker (Cornelia Sharpe) and are told that she has connections with a local mob boss (Allen Garfield) and because of that she won't be prosecuted. So then they decide to check him and his operations out. What I think hurts the film is that its so predictable and its just another cop film from the seventies. Nothing that special. Gould and Blake use the usual cop banter when they talk and then there is the obligatory scene with Gould in his rundown cheap apartment. Every cop film has this scene. Of course the Sgt in charge of them keeps telling them both he's heard complaints about them and you have to have at least one car chase. There is one impressive scene and its where they chase three bad guys out of a building and into a supermarket. Its done in one continuous shot and its accompanied by an effective piece of music. Its a very well done scene and very well choreographed. The same music is heard during the ambulance chase scene. Football player Carl Eller has a scene where he beats up Gould and how about Blake calling Garfield "Spanky"! Hyams would later direct better films than this and while this film does have some decent moments (Like Gould on the stand!) its still not up to par with a lot of the cop films of the seventies.