Retro Television Review: Homicide: Life on the Street 1.2 “Ghost of a Chance”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC!  It  can be viewed on Peacock.

This week, the search for Adeena Watson’s murderer begins.

Episode 1.2 “Ghost of a Chance”

(Dir by Martin Campbell, originally aired on February 3rd, 1993)

There’s been a murder in Baltimore.  That, in itself, is not news.  The pilot firmly established that murder is a fact of life in Baltimore.  But, the victim of this crime is an 11 year-old girl named Adeena Watson, who left her home to go to the library and who never returned.  The press is covering every detail.  The police brass want an arrest and they want an arrest quickly.  And the primary detective on the case is rookie Tim Bayliss, who has never even worked a murder case on his own before.  Giardello refuses to replace Bayliss but he also makes it clear that he needs Bayliss to bring him something.

As for Bayliss, he spends most of this episode struggling.  Not only does he not have the respect of his fellow detective but he also, as a rookie, doesn’t even have a desk until Giardello, in a fit of anger, knocks everything off an unoccupied desk and awards it to Bayliss.  (So, was that desk just sitting there the whole time?  I thought they didn’t have any available desks.)  Because this crime is what is known as a “red ball,” (i.e., a murder that has attracted the attention of the media and the public), every detective is looking for Adeena’s murderer.  While Bayliss obsesses on who Adeena was before she was killed, the rest of the squad does the practical things, like talking to neighbors and bringing in all of the city’s sex offenders for interrogation.

My heart broke for Bayliss while watching this episode.  Kyle Secor did a good job of capturing both Bayliss’s outrage over the crime and his fear of failing to solve his first case as a primary.  While Bayliss stared at Adeena’s body in the alley, Munch, Lewis, and Crosetti debated sports.  And while their attitude may have seemed callous, this episode established that disconnecting is the only way to handle working Homicide.  Bayliss, having not learned how to disconnect, grows more and more obsessed with Adeena.  I cheered a little when Bayliss finally stood up for himself and even won the grudging respect of Frank Pembleton.  That said, the change in Bayliss happened almost too quickly to be credible.  Apparently, all it took was for Giardello to give him a desk for Bayliss to go from being meek and overwhelmed to being a confident and take-charge detective.

While Bayliss searched for Adeena’s killer, Much and Bolander dealt with a murder that happened in a wealthy neighborhood.  The killer (Gwen Verdon) was a wife who snapped after 60 years of marriage.  As she explained to Bolander and Munch, she and her husband had earlier promised each other that they wouldn’t get a divorce until the children died.  Bolander has a crush on the coroner, Dr. Blythe (Wendy Hughes), but he’s worried about getting back in the dating game after his own divorce.  When Munch asks Bolander how old he is, Bolander replies, “48.”  Ned Beatty was a great actor and I’ve never seen a bad Ned Beatty performance.  That said, it’s also hard for me to think of any film where he looked a day under 50.

Meanwhile, Kay tries to get a confession from a guy who is about to go on trial for murder.  Felton laughs when Kay says that she was visited by the ghost of the guy’s victim.  However, Felton makes up for being a jerk by helping Kay find the murder weapon.  This whole subplot was odd to me, largely because Kay really doesn’t come across as the type to believe in ghosts.  But whatever works, I guess!  Melissa Leo and Daniel Baldwin did a good job in this episode, selling a storyline that had the potential to be a little bit too cute for its own good.

As the episode ended, the killer of Adeena Watson had yet to be captured.  While the other detective drank at a wharf bar, Bayliss went to Adeena’s memorial service and stared at her coffin, haunted.  It was a powerful moment but one that left the viewer worried about Bayliss’s sanity.  Earlier in this episode, Pembleton said that a murder that goes 72 hours without being solved will never be solved.  Bayliss is running out of time.

 

A Movie A Day #264: The Cotton Club (1984, directed by Francis Ford Coppola)


The time is the 1930s and the place is New York City.  Everyone wants to get into the Cotton Club.  Owned by British gangster Owney Madden (Bob Hoskins), the Cotton Club is a place where the stage is exclusively reserved for black performers and the audience is exclusively rich and white.  Everyone from gangsters to film stars comes to the Cotton Club.

It is at the Cotton Club that Dixie Dwyer (Richard Gere) meets everyone from Dutch Shultz (James Remar) to Gloria Swanson (Diane Venora).  Shultz hires Dixie to look after his girlfriend, Vera (Diane Lane).  Swanson arranges for Dixie to become a movie star.  Meanwhile, Dixie’s crazy brother, Vincent (Nicolas Cage), rises up through the New York underworld.  Meanwhile, dancing brothers Sandman and Clay Williams (played by real-life brothers Gregory and Maurice Hines) are stars on stage but face discrimination off, at least until Harlem gangster Bumpy Rhodes (Laurence Fishburne) comes to their aid.

The Cotton Club was a dream project of the legendary producer, Robert Evans, who was looking to make a comeback after being famously charged with cocaine trafficking in 1980.  Having commissioned a screenplay by his former Godfather collaborators, Mario Puzo and Francis Ford Coppola, Evans originally planned to direct the film himself.  At the last minute, Evans changes his mind and asked Coppola to direct the film.  After working with him on The Godfather, Coppola had sworn that he would never work with Evans again. (When he won an Oscar for The Godfather‘s screenplay, Coppola pointedly thanked everyone but Robert Evans.)  However, by 1984, a series of box office flops had damaged Coppola’s standing in Hollywood.  Needing the money, Coppola agreed to direct The Cotton Club.

Evans raised the film’s $58 million budget from a number of investors, including Roy Radin.  Roy Radin was best known for putting together Vaudeville reunions in the 70s and being accused of raping an actress in 1980.  Radin and Evans were introduced to each other by a drug dealer named Lanie Jacobs, who was hoping to remake herself as a film producer.  During the production of The Cotton Club, Radin was murdered by a contract killer who was hired by Jacobs, who apparently felt that Radin was trying to muscle her out of the film production.

While all of this was going on, Coppola fell into his familiar pattern of going overbudget and falling behind schedule.  This led to another investor filing a lawsuit against Orion Pictures and two other investors, claiming fraud and breach of contract.  When the film was finally released, it received mixed reviews, struggled at the box office, and only received two Oscar nominations.

With all of the murder and drama that was occurring offscreen, it is not surprising that the film itself was overshadowed.  The Cotton Club is a disjointed mix of gangster drama and big production numbers.  As always with post-Apocalypse Now Coppola, there are flashes of brilliance in The Cotton Club.  Some of the production numbers are impressive and visually, this movie has got style to burn.   However, among the leads, neither Richard Gere nor Diane Lane seem to be invested in their characters while the talented Hines brothers are underused.  The supporting cast is full of good character actors who are all in a search of a better script.  A few do manage to make an impression: James Remar, Bob Hoskins and Fred Gwynne as veteran gangsters, Nicolas Cage as the film’s stand-in for Mad Dog Coll, and Joe Dallesandro as Lucky Luciano.  The Cotton Club is sometimes boring and sometimes exciting but the onscreen story is never as interesting as what happened behind the scenes.