Welcome to Manhattan in the mid-80s!
While self-righteous vice cop Al Wheeler (Billy Dee Williams) patrols the streets with the fury of an Old Testament prophet, men flock to seedy bars to watch women like Loretta (Melanie Griffith) dance and strip. Mobsters like Carmine (Rossano Brazzi) control the streets while club owners like Mike (Michael V. Gazzo) and Frank (Joe Santos) try to do business and make enough money to keep things open. Bookers like Nicky Parzeno (Jack Scalia) and Lou Goldstein (Jan Murray) compete to see who can place their girls in the most clubs. Nicky’s best friend and business partner, Matt Rossi (Tom Berenger), is haunted by his violent past as a boxer and his failed relationship with the drug-addicted Loretta.
Meanwhile, a nameless man (John Foster) practices nude tai chai in his warehouse apartment and writes feverishly in his journals. At night, he stalks the streets with a blade in his hand. He targets strippers, attacking them as they try to get home from the club. Honey (Ola Ray) is attacked on a subway platform. Loretta’s girlfriend, Leila (Rae Dawn Chong), is attacked on the streets. Obsessed with Loretta’s safety, Matt struggles with his own inner demons as he prepares for a final confrontation with the killer….
1985’s Fear City is another one of director Abel Ferrara’s heavily stylized fever dreams. In typical Ferrara fashion, the plot is so sordid that one might be tempted to think that the film is meant to be a self-parody and the dialogue mixes profane insults with bizarrely philosophical asides. As played by Billy Dee Williams, Al Wheeler is not just a cop who wants to clean up New York and Times Square. Instead, he’s a seething soldier to traditional morality and one who is so intense that it’s something of a shock that he doesn’t just walk around New York shooting people for jaywalking. Meanwhile, Tom Berenger’s Matt is a hulking brute who is haunted by the time he killed a man in the ring. He knows what he’s capable of and it scares him but, in order to save Loretta and his business, he’s going to have to become that deadly boxer once again. “I hate Matt Rossi because he’s arrogant,” Al Wheeler says through gritted teeth. Meanwhile, Matt deals with his own issues by trashing his office and then leaving the mess for someone else to clean up. I’m not sure what that was supposed to accomplish but it’s apparently something that Matt just has to do.
Abel Ferrara directed this film five years before King of New York and, in some ways, Fear City feels like a dry run for King of New York. Both films are highly stylized and both present New York as being a neon-lit Hell where the rich and the poor come together in mutual self-loathing and where the criminals often have more of a code of honor than the cops who are trying to stop them. Of course, King of New York had Christopher Walken’s magnetic performance as Frank White holding the film and its many storylines together. Fear City doesn’t really have that. Billy Dee Williams, Tom Berenger, Jack Scalia, and Melanie Griffith all give strong performance but none of their characters are really quite compelling or grounded enough to keep the film from spinning off into delirious excess.
In other words, Fear City is a mess but it’s one of those over-the-top, shamelessly sordid messes that you really can’t look away from. There’s enough philosophical dialogue to confirm that, as with King of New York, Ferrara was shooting at something more than just a typical exploitation film. Unlike King of New York, Ferrara doesn’t quite succeed in saying anything particularly deep about the human condition in Fear City. But that’s okay. It’s an entertainingly sordid film.
Through the Shattered Lens 