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Del director Sidney Lumet.

Años 70. Relato biográfico sobre Frank Serpico, un policía íntegro de principios incorruptibles que, a diferencia de sus colegas, nunca se dejó sobornar, y precisamente por ello siempre tuvo problemas con sus compañeros de profesión y se vio expuesto a situaciones muy peligrosas.

Storyline »


Serpico is a cop in the early 1970s. Unlike all his colleagues, he refuses a share of the money that the cops routinely extort from local criminals. Nobody wants to work with Serpico, and he’s in constant danger of being placed in life threatening positions by his “partners”. Nothing seems to get done even when he goes to the highest of authorities. Despite the dangers he finds himself in, he still refuses to ‘go with the flow’, in the hope that one day, the truth will be known.

Rotten Tomatoes

The collaboration between quintessential New York director Sidney Lumet and star Al Pacino proves to be most fruitful in “Serpico,” the exciting if not entirely accurate and satisfying version of Peter Maas’s book, based on true-life accounts of New York undercover cop whose non-conformism and exposure of department corruption isolated him from the force.

In 1970, police officer Frank Serpico shocked the Knapp Commission investigating the New York City Police Department by testifying that there were many cops who took payoffs.

Peer pressure: The movie is effective in depicting how Serpico was distrusted and later harassed by his fellow officers, who suspected him for his honesty as well as for his hippie counter-cultural lifestyle. Serpico lives in the Village, and the story is set at the height of the Vietnam War and the anti-War movement.

Upset by the double-dealing and oppressed by the persecution, Serpico tried to inform police commissioner White of the corruption within the unit. When the official response is discouraging, he decides to take his story to the New York Times, and the ensuing reportage and scandals forced New York Mayor Lindsay to initiate a high-level investigation and call Serpico to the witness stand, increasing the criminals’ wrath and endangering his life.

The main tale unfolds in one long and uninterrupted flashback, with the movie’s beginning and end set at the hospital where the wounded Serpico resides. Waldo Salt and Norman Wexler’s scenario can be faulted by propagating the heroic, romantic myth of a single individual fighting against the whole system. Indeed, the script may be too shapely for its own good, alternating action scenes with romantic ones between Serpico and his girlfriend. Though a collaborative effort, it’s fair to speculate that Wexler wrote the humor-inflected scenes and the low-life dialogue, as he had previously scripted “Joe,” John Avildsen’s feature directing debut.

Apparently, for dramatic and emotional reasons, Lumet’s film violates the real-life character. Only Serpico and the New York Times Burnham are identified by real names. Everyone else has a fictitious name in consideration of potential suits for libel and invasion of privacy. The real-life Sergeant David Durk (called in this story Bob Blair) must have played a much more important part in Serpico’s story than is given credit in the film.

Lumet refrains from explaining what precisely motivated Serpico In the movie, he is described as the only officer who refused free meals, much less payoffs from gamblers and numbers racketeers. Though his direction is astute and assured, and he was the best choice for such material, Lumet was a replacement of John Avildsen (who became famous several years later, after he directed “Rocky”).

The movie is replete with mythic and religious symbolism, and as Vincent Canby observed, Serpico comes across as a character of Dostoyevskian proportions, an anti-cop cop. It may not be a coincidence that he is fond for wild disguises. In his private life, he adopts the look and manner of a flower child’s son of Christ.

In sequences, the film offers a provocative chronicle of one man’s rebellion against sleaziness, corruption, and unprofessionalism that has affected American life and its main institutions, including the ethics of civil servants and politicians; a year later, in August 1974, President Richard Nixon would resign from office as a result of the Watergate scandal.

The closure is rather ambiguous, if not cynical. A title card informs that Serpico, a recipient of Medal of Honor, resigned from the police force on June 15, 1972 and now lives in Switzerland.

The soundtrack score by Mikis Theodorakis, who was popular at the time, was criticized for being redundant and inappropriate for this kind of story. There is also obvious choice of music, including Neapolitan street airs that play whenever Serpico’s Italian immigrant parents appear on screen.

Despite the writing flaws, Al Pacino is always riveting to watch, rendering a charismatic and complex performance that takes the movie to another realm, turning it into a much more than a cop-corruption drama.

The picture was made during the height of Pacino’s career, between Coppola’s “The Godfather” (1972) and “The Godfather, Part II” (1974). Pacino would score even better in his next assignment for Sidney Lumet, “Dog Day Afternoon,” also made in 1974.

Commerially, “Serpico” is one of Lumet’s most successful films, grossing over $30 million in the U.S. alone… by Emanuel Levy.

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Frank Serpico fue un policía de principios de los años setenta que no gustaba a sus compañeros y que rechazaba constantemente dinero corrupto de criminales locales que otros compañeros se llevaban a casa a diario. Una de las mejores interpretaciones de Al Pacino, una película fantástica, que enseña, que deja un mensaje positivo en cuanto a lo que debe ser la ética, es una historia muy bien contada, tiene argumentos y muchos para ser vista y recordada, es de las menos populares de este actor como cosa rara en el cine de culto, Sidney Lumet, Al Pacino empieza una llave con éxito, que después nos daría mas felicidad con la famosa tarde de perros, gran historia, gran cine.

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