Reviews (2)
I am in this film
I think it is in poor taste to move ahead with this film forgetting about the extra cast in it that who if it werent for , the film woul dnot be released or worth being a film. Let me comment on how I was treated . I am in this film several times with Lori, as an atmosphere, and playing her double in a car .My own car is shown in this film. I didnt get paid for my bumps . I was treated so rude on the set by one of the girls who was suppose ot be in charge. Even when I was sitting with Greg Evigan and talking tohim and he talking ot me , she was vicious and cruel. I feel that not only because of the treatment I received from the gal in charge, but because I am shown in the film many times and that it is still out there I should be compensated. I moved to LA and tried to contact the director and evenMr Evigan. No replys. I feel it was selfish .
who can you turn to when the cops are threatening you?!
Based on a true story of a rookie policewoman who was raped by a fellow officer this movie has an intelligent screenplay by a woman, Valerie West, and clean direction by Armand Mastroianni. It also helps that the cop is played by Full House's Lori Loughlin in a truthful and ultimately touching way, devoid of exploitation hysteria. Since Loughlin is still on a probation, her initial reluctance to report the rape is later used to condemn her, and although the cliched "I never thought it could happen to me" syndrome is evident, we still understand her logic. You might think a rookie would have some self-defence skills since the movie begins with her coping with a violent confrontation, but the argument the rapist is stronger than she, passes, since a rape victim cannot be blamed. Once Loughlin does come forward and the "blue wall of silence" goes into effect, where the police close ranks, Mastroianni employs a Karen Silkwood style conspiracy. The horror of being totally unprotected when it is the police you thought who existed to protect you being the ones who you need protection from, is realised. Loughlin's admission is prematurely interrupted more than once by inappropriate timing, which has the whiff of perverse humour, if one can be black enough to laugh about rape. There is also a laugh when a rock with "rat" painted on it is hurled through Loughlin's window, after she had been told that the "code" is you don't "rat" on "family". We are told that 40% of rapes are committed by those known to the victim, and a casual look at the perpetrator (Greg Evigan, aging to resemble Mickey Rourke) provides circumstantial clues - he drinks, chews gum, boasts of infidelities, and is bare-chested in the mixed cop locker-room. When we get to a trial, it is handled with surprising amusement. Martin Sheen as the assistant District Attorney and Loughlin's lawyer enjoys himself immensely in his cross-examinations, and even Evigan's defence counsel redeems herself in her questioning of Loughlin, after a disastrous opening speech beginning with "The truth is that there is no truth" Huh?! The presentation of night shift cops having inclusive recreational time is another cliche to be overcome. There may be some truth to the idea that their experiences give them a unique bond, but at least Loughlin has a boyfriend as an outside interest, even if he is thick enough to be unaware of her pain. I like how Mastroianni has the noise of playing children outside Loughlin's house muffle her screams, though I could have done without her flashbacks of the attack, particularly as they are standard rewinds with no attempt at point of view. Apparently most rapes go unreported because, presumably, of fear of retribution, if the statistics on the perpetrators being known to the victim are true. A rape being reported every 5 minutes is an horrific occurence, but if that is only what is reported, one dreads to think of the frequency of the attacks themselves.
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