THE FIRST DEADLY SIN

US, 1980, 112 minutes, Colour.
Frank Sinatra, Faye Dunawaye, David Dukes, Brenda Vaccaro, Martin Gabel, Anthony Zerbe, James Whitmore.
Directed by Brian G. Hutton.

The First Deadly Sin is an interesting police story. It was produced by Frank Sinatra and was his first star vehicle in ten years (after his private eye and detective thrillers: The Detective, Tony Rome, Lady In Cement). He is convincing as Delaney, the New York cop about to retire who solves a series of gruesome murders.

The film is in line with Death Wish and other films where individuals feel that they must take the law into their own hands and execute the lawbreakers. This provides for mixed emotional and intellectual judgments from the audience.

There is a good supporting cast, including James Whitmore, quite striking as the autopsy surgeon. Faye Dunaway has top billing as Sinatra's wife. However, all her sequences are in the hospital where she is dying.

The film captures the atmosphere of New York (its dark side as in films like Cruising, which this films resembles in theme and methods of detection. )Direction is by Brian G. Hutton, better known for such action films as Where Eagles Dare and Kelly's Heroes.

1. An interesting and enjoyable police film? Detection? Image of contemporary society?

2. The film's use of New York, the streets, homes, hospitals, shops? Authentic atmosphere? The atmosphere of the police precincts? Of criminals? The musical score?

3. The title: the sin of pride? With reference to whom? Moral overtones? The emblem of the cross seen throughout the film?

4. The murder situation and the audience sharing it? The initial death? The consequent murders? Detail and feeling? Audiences glimpsing the killer? Puzzled about his behaviour? Delaney and his presence, investigation? Discovering the identity of the killer, stalking him, confronting him? Where did audience sympathies lie? The-character of the murderer: his work, living alone, wealth? moving from place to place? The pattern of his killings? Motives? Fear, his washing, weeping? His self-assertion in ringing in the police? Delaney being his judge and executioner?

5. The world of police detection: skills and training, hunches, routines, permissions, interlinking of departments, support? Officialdom and its unwillingness to move?

6. The screenplay and the parallel of Delaney's experience with the killer and his experience with Barbara? The initial murder? her operation? Surgery and the axe murders? The reality and symbols of blood? Her operation, her getting better, the hospital machinery? The official version and officialdom paralleling the noncommittal comments of the police force? Her collapse? Delaney's continued visits, the flowers, the reading of the story? The pathos of her dying?

7. Frank Sinatra as Delaney: in himself, his work, skill with cases? The bond with Barbara? Her operation and the visits, tenderness, flowers, the book, stories, love? The clash with the doctor? The study of the murders? The discussion with the autopsy surgeon? The interchange of opinions, further clarification of the wounds and the weapon? The details of his investigation, questions, theories? Information and patterns? The museum curator and the discussions about the weapon? The murder victim's wife, her anger, visit? Her collaboration with the curator? The curator and the shops, the interviews, finding the weapon? Going through the sales cards? Delaney's permissions for further investigation, their refusal? His searching for the murderer - the ironic comedy of the visit to the cripple's house and his being held up by the cripple's stick? The killer, seeing him in the parking lot? Stalking him? Bribing the apartment attendant? Following, chasing? Entering his apartment, frightening him? The decision to kill him? The execution? His resignation? A policeman at work, working within the system, exasperated with the system? His friendships and colleagues? Final disillusionment? Barbara's death?

8. Barbara's character, support for Delaney? and its effect on her husband? The reality of her dying

9. The murder victims? The sad accident of their presence in the wrong spot? The widow and her antagonism towards Delaney? Her apology? Her help with the cards?

10. The curator and his knowledge of weapons? His age and wanting to be involved? The humour of his going from shop to shop? His success in identifying the weapon? Working with the widow? Pleased with his success?

11. The autopsy surgeon and his attitudes, objective interest in the corpses, the wounds? Offhand style? Friendship with Delaney? Collaboration?

12. Sombre entertainment? Violence and crime? Detection and justice? A picture of police work? Modern society?