Intriguing Thriller, But... (Press, 17 November 1980)

On 17 November 1980, Hans Petrovic reviewed the film "Cruising," directed and written by William Friedkin, known for his earlier works such as "The French Connection" and "The Exorcist." The review highlights the film's controversial nature, emphasising its disclaimer that it is not meant to portray the entire homosexual community negatively, but instead focuses on the sadomasochistic subculture that constitutes a small percentage of that community. The film has sparked significant reactions, with theatre-goers in Christchurch expressing their shock and disgust, even leading some to request refunds after viewing it. Friedkin's intention appears to be to push audience boundaries in the realm of entertainment, delving into the gritty and provocative atmosphere of Manhattan’s all-male pick-up bars and the S-M scene. Al Pacino stars as a young New York police officer who goes undercover by adopting a fictitious homosexual identity to aid in a murder investigation targeting gay men. This character choice stems from his resemblance to the victims, whose dismembered bodies have been discovered in the Hudson River. The urgency to resolve these crimes relates to the impending Democratic convention in New York, prompting the detectives to act quickly. As Pacino’s character assimilates into this unfamiliar world, he grapples with his grasp on reality and questions his own sexual orientation, complicating his relationship with his girlfriend. The film portrays a tangled narrative where nothing is quite what it seems, featuring elements of deception with gay men masquerading as policemen and other layers of identity that complicate the investigation. Ultimately, the film is described as a psycho-sexual thriller fraught with red herrings and unexpected twists, leaving audiences uncertain about the identity of the murderer even upon a second viewing. Petrovic suggests that Friedkin may have been pressured into creating a morally acceptable conclusion for a story that is inherently sordid and complex, akin to the struggles faced by Francis Ford Coppola with "Apocalypse Now." Despite its discomforting content, "Cruising" is framed as an engaging but unsettling experience, positioning Friedkin as a provocateur challenging viewers to confront challenging themes of identity and morality within a troubling subculture.

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