Corrupt cop going ballistic
Luck isn't on the menu for L.A. Cop "Date Rape"
Director Oren Moverman Screenwriters James Ellroy, Oren Moverman Cast Woody Harrelson, Sigourney Weaver, Robin Wright, Steve Buscemi
A cop with the nickname “Date Rape” (Harrelson) is not going to be a mild-tempered, even-minded, fair cop; although it probably wouldn’t be fair to say that he is a bad person. He believes in the justice system, he has respect for the police force and the work they do, he is passionate about arresting the scums of L.A., and he appears to be a family man with two children he is dedicated in taking care of. For him, slightly bending and sometimes outright breaking the law is absolutely fine, as long as he has a justifiable goal. He is the kind of cop who would beat someone half to death to get some vital information. Cops could get away with this kind of mindset but in the 1990’s, the infamous Rampart scandal was shaking up the L.A. police department, with corrupt cops being discharged and attracting a lot of embarrassment and negative press attention to the police force.
Caught in the middle of this chaos is the equally chaotic and volatile Brown, whose stubborn, crime-fighting nature refuses to tone down despite the scrutiny his occupation is under. One day he chases and beats up a man who accidentally crashed into his car and tried to flee, and his rampage with his police baton ends up getting caught on a civilian camera. The video and his name are all across the evening news later that day, and attracts even more protest, something his powerful bosses, trying their absolute best to survive the aftermath of the Rampart scandal, are furious about. His professional life is therefore in jeopardy, with Internal Affairs (Weaver, Buscemi) wanting to bury this case from the public by getting rid of Brown as swiftly as possible.
Things at home aren’t much better. The two women (Heche, Nixon), who happen to be sisters, who Brown each fathered a daughter with, have kicked him out of their house and he is not a welcome member at their dinner table, despite his desire to bond with this daughters (who are incidentally, both cousins and sisters). His domestic life consists of lazing around his couch, watching television, drinking beer and endlessly smoking. He needs his job more than ever to remain sane and have some sort of purpose in life. Being targeted as a sacrificial lamb by his employees at this point in his life is even less welcoming, and Brown is not willing to go down without a fight. A legal battle ensues in which he tries to not only clear his name, but also keep his job.
But luck is most certainly not on his side. Even when he is trying to lay low and correct some of the mistakes he has made, he somehow ends up making his situation worse, with his life further spiraling out of control. Brown may not be a likable character at first, due to his shockingly impulsive and violent behaviour, and the fact that very little is told about him prior to a lot of these hectic events also don’t help the audience trying to understand this man. But the superb Harrelson is able to do wonders with his surprisingly underwritten main character. A highly underrated actor who sails through different genres with competence and ease, the versatile Harrelson is a tour-de-force in capturing Brown’s hardships and his daily intimate struggle to please everyone around him.
Despite the fiery nature of its plot, Rampart chooses to linger in many long takes and carefully observe Brown’s every single thought and movement. This, combined with Harrelson’s intense performance, is an exceptional character study that truly draws you in to this fascinating tale of someone hitting rock-bottom. Just as you thought it could not get any worse for Brown, it does, in the most unfortunate way imaginable, and we start to wonder whether his life will ever turn around. Although it would be fair to assume that he himself played a part in this mess, given all the tough hoops he is required to jump through, we begin to wonder if the punishment fits the crime.
It doesn’t have much else to tell outside the central character’s plot which in itself is also greatly restrained, and because of this, the talented range of supporting actors are merely treated as nothing but slightly long cameo roles. Weaver and Buscemi shine in their brief scene they share with Harrelson, Heche and Nixon are both suitably cranky and dissatisfied with their children’s father’s irresponsible string of actions. Robin Wright has an interesting role as a mysterious lawyer who might or might not be after Brown. But the real star here is Harrelson, playing a conflicted man in a complicated movie, in a raw, brave performance with a touch of priceless dark comedy here and there that shows Harrelson yet again on top form.
