R | 1h 53m | Crime, Drama, Thriller | 1996
“Night Falls on Manhattan” (1996) reflects Sidney Lumet’s thematic interests in authority, corruption, and the working class. These subjects, albeit from a different angle, were displayed in his critically acclaimed film “Serpico” (1973). In this film, Lumet delves into the intricate dynamics within the corridors of power.
“Serpico” concentrates on the personal journey of Frank Serpico as he confronts corruption at the grassroots level of law enforcement. “Night Falls on Manhattan” widens the scope to explore the complexities of power and justice (and injustice) within the legal system itself.
Through the character of Sean Casey, an idealistic lawyer played by Andy Garcia, the film navigates the moral gray areas that sometimes occur in the pursuit of justice. As Casey grapples with his own principles and confronts the realities of political maneuvering and corruption within the legal establishment, Lumet offers a critical examination of the tension between idealism and pragmatism in the quest for truth and integrity.
“Night Falls” starts off in similar fashion to its ‘70s’ predecessor—with lots of gritty drama and bloodshed. A pair of NYPD narcotics detectives, Liam Casey (Ian Holm) and Joey Allegretto (James Gandolfini), are staking out a grimy tenement building. Due to a tip from a sketchy informant named Shmuel (Anthony Alessandro), they believe this is where high-tier drug dealer Jordan Washington (Shiek Mahmud-Bey) lives.
Arrest Gone Bad
While Joey wants to wait for backup, Liam forges ahead and enters the building. Fortunately, Joey wisely calls for additional units before following his impulsive partner into the rundown structure.
Washington hears the two cops coming and the situation rapidly deteriorates; Liam is gravely injured by Washington, who attempts a daring escape. When backup finally arrives, Washington kills two officers. He then disguises himself as one of the fallen officers and flees in an unguarded police cruiser with a duffle bag full of his illicit gains.
The debacle proves deeply embarrassing for the NYPD, yet New York District Attorney Morgenstern sees a silver lining in the chaos. Liam’s son, Sean Casey, happens to be a recently appointed Assistant District Attorney.
With the evidence left behind by Washington seeming to guarantee a slam dunk conviction, Morgenstern strategically appoints Casey as the lead prosecutor in the case should the drug dealer be captured. Morgenstern, eyeing reelection as the District Attorney, views this high-profile case as pivotal to his political aspirations.
However, this shrewd move infuriates Elihu Harrison (Colm Feore), a local assistant district attorney who assumed he’d be chosen to prosecute since he’s a much more seasoned attorney. Harrison also has his own political ambitions, which Morgenstern is aware of.
Casey is as shocked as Harrison about the surprise offer, but accepts the job—not only for career advancement, but also for personal reasons of family pride. As an additional twist, his father (who barely survived) is to be the star witness.
Washington is apprehended, and an additional twist emerges: Anti-establishment attorney Sam Vigoda (Richard Dreyfuss) steps in to defend the accused drug dealer.
Unlike “Serpico,” this film stays away from the gritty reality of New York City’s law enforcement and delves more into the sensationalized realm of fiction. After all, it was adapted from the book “Tainted Evidence” by author Robert Daley.
One of the film’s strengths lies in its formidable cast. Among the standouts is Richard Dreyfuss, who shines in his role as Sean’s legal adversary, portraying a defense lawyer determined to uncover police corruption. Additionally, James Gandolfini delivers a memorable performance as Liam’s shady partner, striking a balance between amiability and underlying menace (which he’s so good at).
However, it is Ron Leibman’s portrayal of District Attorney Morgenstern that truly commands the screen with his impassioned presence. Leibman steals scenes with his often ear-splitting delivery, though the character’s insistence on repeatedly emphasizing his Jewish identity can come across as forced, a trait attributed more to the script than the actor’s performance.
“Night Falls on Manhattan” might not match the brilliance of “Serpico,” but it’s a film with its own merits. Lumet’s exploration of justice and corruption offers a refreshing departure from the typical hero-versus-villain narratives seen today. It prompts viewers to ponder their own choices in similar circumstances. It is a thought-provoking experience, which might unsettle some, but that’s precisely what makes it worth watching.
