PRINCE OF THE CITY runs almost 3 hours but there's never a wasted moment. This is a story that demands plenty of time in the telling. At it's heart is Danny Ciello (Treat Williams), a Detective with a small, hugely successful Special Investigative unit which comes under investigation itself by a Federal Task Force.
The feds assure Danny that he's clean and ask for his help in rooting out corruption among his fellow officers. Reluctantly, and after gaining assurances that he won't be asked to turn in anyone he's worked with directly, Danny goes undercover wearing a wire to record dozens of hours of incriminating conversations with cops and criminals. His motivation for turning informer isn't entirely clear, even to Danny himself. But as the story unfolds we watch him change from a swaggering confidence to conflicted and tormented vulnerability. He wants to do the right thing but naively believes he can do it on his terms, and doesn't appreciate until he's in too deep the inevitable consequence of the investigative train he's set in motion.
Lumet tells his story in a restrained docu-drama style. There's no flashy camerawork, no car chases or shoot-outs and no star turns. The biggest name in the cast is Treat Williams (and he won't mean much to anyone under the age of 35) and this lack of recognisable faces adds to the film's feeling of authenticity. Star names bring expectations with them and without this distraction it's easier to believe in the characters as real characters rather than actors playing a part.
Williams acquits himself well in his first starring role although there are a couple of scenes where he goes a little over the top in conveying Ciello's inner turmoil at being "a rat."
An excellent companion piece to Lumet's 1973 corrupt NYC cops drama "Serpico" PRINCE OF THE CITY rewards the viewer who has patience and attention. Both are required to get the most out of this movie. It's not necessarily what you expect but you won't be disappointed with what you get.
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