Rewind: ‘Cruising’ Review
Stars: Al Pacino, Paul Sorvino, Karen Allen, Richard Cox, Richard Cox, Don Scardino, Joe Spinelli, Jay Acovone, Randy Jurgensen, Barton Heyman, Gene Davis | Written by William Friedkin, Gerald Walker | Directed by William Friedkin
Within the filmography of the late William Friedkin, one of the most controversial works he delivered was Cruising. Set during a hot summer in New York City, the story sees a serial killer murdering and dismembering several gay men within the world of S&M and leather bars. Assigned to this case is Steve Burns (Al Pacino), an officer whose physical similarities to the victims makes him perfect to go undercover, with the prospect of rapidly advancing his career by doing so.
Poorly received upon release, this film was protested by New York’s gay community under the belief that it stigmatised them. This reviewer admittedly may not be the best judge as an outsider, although I must admit that the work did not feel hurtful towards the depicted section of the queer community. If anything, it is more critical towards law enforcement and how they have failed in protecting these people. The community does not trust the police to solve this case, believing it is more likely the killer will be hired onto the force, fears which hold merit when their intentions are to cut corners by pinning it on whoever looks like a good enough suspect.
Police brutality is on show throughout, as an early scene of two officers on patrol sees their casually misogynistic conversation transition into forcing a pair of sex workers to perform sexual acts. While this occurs, another example of violent power through intimidation and fear occurs as the serial killer selects the latest victim to murder. The most horrific sequence is an interrogation sequence, as a potential suspect that Steve mentions is brutally abused by the police. Absurd details are included to make any possible charges against the officers lose credibility, in a gaslighting tactic implemented by those who protect abusers within their own ranks.
Amidst this grim and grimy giallo, what Friedkin has crafted is an interesting mystery that focuses on identity. This is notable with how the killer is played by different actors, all dubbed by an entirely different actor delivering the dialogue. Committed to bringing him down is Pacino, capturing the fear and curiosity as he enters an unfamiliar world that he struggles to acclimatise to. A key sequence sees Steve take a substance as he dances in a club, with his eventual letting loose represented by how the lights brighten, the energy raises, and the editing becomes more stylized.
While the character is initially reluctant about this community that he knows nothing about, he becomes sympathetic as he understands them and the horrific treatment from the poice, while having growing questions about himself. As the final shot lingers with meaning, the sense is conveyed that Steve is forever changed by his experiences. If you wish to honour Friedkin but would rather try something other than The Exorcist, then this is a phenomenal choice worth making.
