John Marshall Jones | Through the Shattered Lens

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!

Torello is going to snap….

Episode 1.9 “Justice Hits The Skids”

(Dir by Mario DiLeo, originally aired on November 11th, 1986)

Torello is losing it.

Well, that’s not really a surprise. Torello has been losing it since the pilot. However, this episode finds him acting even more intense than usual. He’s getting divorced. His best friend Ted Kehoe has been murdered and the federal prosecutor seems to be more interested in trying to prove that Torello is corrupt than in going after Bartoli and Luca. Torello doesn’t even go to Ted Kehoe’s funeral, leading to everyone thinking that Torello is losing what little grip on sanity he has left. Even his soon-to-be ex-wife checks in on him.

While Torello stews over Luca, Suzanne Terry attempts to investigate the growing use of drugs in some of Chicago’s poorest neighbors and she gets attacked and put into the hospital as a result. David Abrams tries to investigate on his own, leading to Suzanne telling him that she needs some time apart from him. (Before she’s attacked, David takes her out to dinner. When a racist diner complains and the head waiter asks them to move to a different table, Suzanne wants to leave the restaurant. David insists that they stay and finish their meal. David may see himself as being a righteous crusader but, at the same time, he also comes across as being rather controlling. It doesn’t seem to occur to him that Suzanne might not want to give any business to a racist restaurant.) Torello and the Major Crimes Unit then take up the case, even though his superiors tell him not to waste any time on it.

Sweet Haywood (John Canada Tyrell), the drug dealer who attacked Suzanne, is eventually captured. Sitting in jail, he meets his public defender, who just happens to be David Abrams. Abrams pulls out a gun and shoots Haywood in the chest. However, this turns out to just be a fantasy on David’s part. When the real Haywood demands to know if Abrams is going to keep him out of the jail, Abrams says, “Of course. That’s my job. Abrams for the defense.”

The gun-shooting fantasy scene was effective but otherwise, the ending doesn’t make much sense. Assigning Abrams to serve as the public defender for a guy who was arrested for beating up Abrams’s girlfriend is a massive conflict-of-interest. If Abrams intentionally offers up a poor defense, Haywood will automatically have grounds for an appeal. I mean, this is 1963. This the era of the Warren Court!

Even with that in mind, this wasn’t a bad episode. David Abrams and Mike Torello are both flawed heroes, which is what makes the show so watchable. Torello may be fighting on the side of the law but he really does seem like he’s one bad day away from blowing up the entire city of Chicago. Meanwhile, Abrams clearly sees himself as being the last righteous crusader but he often seems oblivious to how his actions effect other people. Neither is perfect. Indeed, each one seems to be just one step away from self-destructing.

We’ll see what happens!

Private Max Eriksson (Michael J. Fox) is a new arrival in Vietnam, a young infantryman who is called a “cherry” by his fellow soldiers. No one wants to get close to Eriksson because everyone knows that it’s the new guy who is most likely to make a mistake and get himself killed. The only person who seems to care whether Eriksson lives or dies is Sgt. Tony Messerve (Sean Penn), a squad leader who is so tough and battle-worn that it is easy to forget that he is only 20 years old. After a member of Messerve’s squad is killed in a firefight and Messerve’s squad had been denied leave despite all of the stress and pressure that they’ve been under, Messerve decides that, during their next mission, the squad is going to kidnap a woman from a village and take her with them.

Eriksson, who is still naive enough to sincerely say, “We’re supposed to be here to help these people,” is horrified by Messerve’s actions. At first, only he and Diaz (John Leguizamo) refuse to take part in raping the terrified woman (Thuy Thu Le). Diaz soon caves to the pressure from the rest of the squad and joins in. Only Eriksson continues to refuse but his attempt to help the woman escape fails when the members of the squad murder her during a firefight with the Viet Cong. After the battle, the wounded Eriksson discovers that no one in command wants to hear about what happened. Messerve’s second-in-command, Clark (Don Patrick Harvey), targets Eriksson, trying to shut him up permanently.

One of the many Vietnam films to come out after the success of Platoon, Brian De Palma’s Casualties of War is an intense and disturbing recreation of a true story. After years of being accused of making misogynistic and exploitive films, De Palma made an effective and sensitive anti-war film, one that did not exploit the suffering of the kidnapped woman but instead portrays the depravity of war and the courage it takes to do the right thing when everyone around is ordering you not to. While it always takes a while to get used to Michael J. Fox in a serious role (and, at the start of the film, he really does seem to be miscast), he eventually gives the best performance of his career in Max Eriksson and, by using a framing device of Eriksson back in the United States after completing his tour, both De Palma and Fox show how the Eriksson, like countless other veterans, is still haunted by what he saw in Vietnam even after he returns home. Sean Penn is equally impressive as Messerve, playing him as someone who sacrificed his soul in order to survive in Vietnam. Messerve has come to view the entire country with contempt and, in his twisted way, he sees kidnapping the woman as a way to reward his squad for all that they’ve endured. The rest of the cast is also strong, with John C. Reilly making his acting debut as a member of the squad.

Not surprisingly, the dark and disturbing Casualties of War was a box office disappointment. It’s still one of most harrowing films made about Vietnam and one of De Palma’s best.