HOLLYWOOD HOMICIDE

US, 2003, 116 minutes, Colour.
Harrison Ford, Josh Hartnett, Lena Olin, Bruce Greenwood, Isaiah Washington, Lolita Davidovich, Keith David, Lou Diamond Phillips, Dwight Yoakam, Martin Landau, Eric Idle, Robert Wagner.
Directed by Ron Shelton.

Solid ingredients but something of a souffle rather than a substantial police-buddy movie. Part of the intention is to make the film light, offer comic strands throughout the detective investigation of the murder of a group of rappers in a Hollywood club. And then there is a long chase sequence: cars, trains, bicycle, foot... but, by this time, it looks more like an exercise in stunt film-making than a drama where you want to know more about the characters.

Former detective Robert Souza vouches that all the details of LAPD personnel have genuine bases. He has co-written the screenplay with director, Ron Shelton, who is more at home with sports films like Bull Durham or The Tin Cup. Prior to making Hollywood Homicide, he made the excellent expose of corruption in the LAPD, Dark Blue.

Harrison Ford plays the older detective who follows traditional methods but has to make ends meet by taking on some real estate brokering between cases (and, here, even in the life and death chase, during cases). His partner is Josh Hartnett who is a poor shot, takes New Age trends very seriously, is a Yoga instructor on the side but thinks he would really like to be an actor. There are some effective scenes between the two scattered throughout the film. The case itself concerns the music industry in California (with memories of the murder of Tupac Shakur). A star supporting cast has Bruce Greenwood as an Internal Affairs investigator, Lena Olin as a late night radio psychic, Lolita Davidovich as an LA madam, Martin Landau as a has-been producer who wants to sell his house, Isaiah Washington as the ruthless music entrepreneur, Dwight Yoakam as a corrupt ex-cop with glimpses of Eric Idle, Lou Diamond Philips, Gladys Knight and Robert Wagner.

It's a pity that it does not come together. What we have is serious issues, frothy treatment which makes it all more frivolous than seems intended.

1. The overall impact of the film? The serious side? The LAPD, murder in the music industry, violence in the city clubs? Police detective work? The combination with the comic elements of the odd couple buddy cops, their extracurricular activities, their sparring with one another? How well did the film combine both?

2. The credits sequences, the focus on the Hollywood sign, all the Hollywood signs? The creating of a Hollywood atmosphere, tawdry, glitzy? The use of Los Angeles locations? The precincts, apartments, mansions? The aerial shots? The street chases? An authentic atmosphere? The musical score, the range of songs from rap to the old classics?

3. The title, murder in Hollywood? Police investigation?

4. The opening situation: the nightclub, the proprietor and his making good, the rap singers, the shooters coming in, the people dancing, the violence, the witness and his being scared and escaping? The irony of the shooters later meeting with the ex-cop, their being shot and their bodies burnt in the exploding car? The motivation for the murder, Sartain, his background, time in prison, shooting his own group to give a warning about people wanting to break contracts? His office, wealth, smooth talking with the police? Being with the ex-cop at the murders? His being caught and pursued, the chase through Los Angeles, his going to the top of the building, the confrontation with Joe, the fight, the fall to his death? The ex-policeman and his being pursued by K.C., driving, on foot? The final confrontation, K.C. having the information that he was his murdered father's partner, his performance in begging for his life, the ex-policeman and his disdain, loss of concentration, being taken by K.C? The links with Benny Macko and his pursuit of Joe and K.C., the interrogations, going to the apartment, in the police precinct? His being arrested at the end? The link with the criminals?

5. Harrison Ford as Joe, age, world-weariness, his trying to sell the house? His being called to the club, his wanting the hamburger, his partnership with K.C. (and the scene at the rifle range and his shooting more accurately than K.C.)? Their work together, Leon and his support? His mixing his business with his detective work? Having overtime and using the time profitably? His going to seminars, his not doing a deal, the owner of the club wanting a house, his taking advantage, K.C. and the information about the producer who wanted to sell? The running gag throughout the film of each of them contacting Joe by phone, the interview in the house, the bargaining? The happy ending with him selling the house? His listening to Ruby on the radio, phoning in, the relationship with her, the police games that they played? His phone calls from Cleo, the risk on doing deals with an informant and not registering her, Macko and his pursuit after doing a deal with Cleo? Cleo and her warning Joe of what had happened? The visit to the witness and his mother, getting the information from her? His working with K.C., trying to understand him, the acting, the yoga class, his seeming know-how with the girls? His contact with the undercover policeman as a woman? The build-up to the confrontation, using Ruby's psychic energy, going to the shop, seeing the criminals, the lengthy pursuit, the fight? Going to see the play? Going on the job?

6. The contrast with K.C., his father as a policeman, Joe getting him the report and his finding out the truth? His yoga classes, the New Age interests? His wanting to be an actor? Rehearsing A Streetcar Named Desire with Joe with lack of passion? His trying to get people to come to the play? The producer? His contacts with the girls? The yoga class and their admiration for him - and his making a great deal of money? His trying to understand Joe? The contacts, the interviews, the pursuits? The final chase, his confrontation with the former policeman, his performance, begging for his life, getting the upper hand? The terrible performance in the play? His being called off-stage to go to a case?

7. Ruby, her radio program, psychic? The relationship with Joe, sexual games? Psychic, leading them to the place where the criminals turned up?

8. Cleo, the Hollywood madam, Vice closing in on her, the deals, the information, her friendship with Joe, his caution and refusing of the deal? Her warning him of Macko's pursuit of him?

9. The police precincts, the hard work, the interrogations, the crowd of criminals - and with the glimpse of Eric Idle as the celebrity pretending to be a researcher? The Internal Affairs, the female investigator and her being fascinated by K.C's yoga? Leon and his support of his men?

10. The guest spots: Eric Idle, Gladys Knight as the mother of the witness, Robert Wagner as the celebrity at Grauman's Theatre during the pursuit?

11. The stunts, special effects, the long sequence of the chase - excitement, recklessness, the characters involved, the cabbie, the people on the railway station, the mother with the two frightened young children in the vehicle? The purpose of this kind of special chase in the context of the investigation?

12. The overall impact of the serious side of the film, the frothy and frivolous side?