Serpico

Based on a book by Peter Maas, Serpico follows Al Pacino’s title character as he becomes increasingly disillusioned with the New York Police Department and eventually embarks on a campaign to expose its rampant corruption. Director Sidney Lumet has infused Serpico with an episodic feel that paves the way for a decidedly hit-and-miss atmosphere, with the movie’s far-too-long running time of 130 minutes ultimately highlighting the meandering nature of Waldo Salt and Norman Wexler’s screenplay. And although the film’s early stretch does hold some promise, particularly with its emphasis on the protagonist’s initial exploits on the police force, Serpico‘s been saddled with a midsection devoted primarily to Pacino’s character’s less-than-engrossing problems in both his personal and professional lives. The ensuing heavy emphasis on Serpico’s floundering romantic relationships and ongoing battles with his corrupt coworkers perpetuates the meandering, erratic vibe, and it’s clear, ultimately, that the movie’s watchable atmosphere is due mostly to Pacino’s typically striking and often electrifying turn as the beleaguered central character – although Lumet admittedly does pepper the proceedings with a handful of palpably engrossing segments (eg Serpico, dressed in his street clothes, is mistaken for a criminal and almost killed by a fellow officer). The far-from-superlative vibe persists right through to the interesting yet underwhelming conclusion, which does, in the end, confirm Serpico‘s place as a passable piece of work that is, for the most part, unable to transcend its decidedly dry subject matter.

**1/2 out of ****