Review of Fuzz

The complex, yet banal, inner workings of a Boston police department are depicted in this serio-comic film featuring a style that, at times seems similar to that of Robert Altman. Reynolds plays a detective who's going undercover as a bum in order to flesh out attackers who are going around setting homeless drunks on fire. Welch arrives at the precinct as a decoy intended to draw out a serial rapist. As if there isn't enough crime and depravity taking place, a mysterious caller announces that he wants monetary payment or he will kill a city official! When that whole scheme goes awry, the caller increases his demands and moves up the food chain to another official. Detectives Reynolds, Westin, Skeritt , Welch, Inhat and McEachin all take part in various plans to eke out the mastermind before he can carry out his plot. Meanwhile, the office is being repainted by wisecracking oddballs Conforti and Hiken. The various story threads eventually come together in a deliberately coincidental climax. In what is really an ensemble film, Reynolds is low-key and entertaining, his patented smirky humor in place, but tempered by some tender and serious moments. Weston, a vastly underrated actor who excelled at playing nervous and put-upon types, is excellent throughout the film. Skerritt enjoys the playful aspects of his part which include getting stuck in a sleeping bag with Welch (worse things could happen to an actor!) Welch is clearly trying to project something beyond the typical sexpot image she had at the time, something not helped by the exploitive and inaccurate poster (which also promises more than Reynolds is permitted to deliver, though he does have a prominently staged shirtless scene.) Welch and Reynolds, having clashed during "100 Rifles" do not share any scenes to speak of here. Brynner appears as a wealthy, hard-of-hearing man. So bleak, natural and believable are the precinct scenes that when Brynner appears in his more glamorous surroundings, it almost feels cut in from another film (in look and tone, actually!) A mother lode of familiar character actors play various cops, crooks and witnesses. Reynolds, who always had a strong tendency to work with friends and former associates, had worked with Weston on TV years before. He also utilized his then-girlfriend Shore to sing the end credits number. The performers speak in mostly understated tones, over one another and frequently in the middle of activity, increasing the verisimilitude of the piece. The humor is mostly laid back and subtle, but the characters become rather endearing and amusing. This being 1972, political correctness is not always at the forefront! It's not a film that's for everyone, but for fans of the stars and of absurd situational humor, it does have its rewards.