The cop of the film’s title is deliriously played by James
Woods, who portrays the role with the intensity and odious sleaze that only an
actor like him can provide. Woods plays Lloyd Hopkins, an unorthodox police
detective who, like Dirty Harry, doesn’t play by the rules, but damn sure gets
results. However, while Harry Callahan's dubious morals are built towards a
black-and-white view of justice, Woods Hopkins is a grubbier prospect. He is
happy to rely on graphic stories of the scumbags he arrests/murders to his
eight-year-old daughter, while his wife pleads with him to go to therapy for
his troubled mind. The issues Hopkins has become quite apparent when he takes
on a murder case of a young woman. He believes the murder is one out of a
string of similar killings which have been occurring for almost two decades.
Hopkins is a good detective, but his evidence in this case is flimsy.
Therefore, Hopkins executes all the tricks of his playbook. Take note early
one, Hopkins blows away a criminal suspect in a shower of bullets before making
the moves on the dead man’s date before the split blood has even cooled. Lloyd
Hopkins is a particular kind of asshole.
This is what makes Cop a fascinating watch. Hopkins’ talent
as a detective is formidable. Shown early in the film’s second scene in which
he shows a greener cop the ropes of what to pick up on when a call comes
through. Yet why he’s a Cop seems to be for the sport, with little care for
upholding the law. He puts on a front that he’s part of the thin blue line
stopping L.A. from being overrun. Hopkins displays his little bedtime story to
his daughter as something to prepare her for the scum she may have to deal with
in her life. All the while, Hopkins’ objectification of women is as dubious as
the hypothetical crims he claims that he is preparing his daughter for. Another
litmus test for his values is his behaviour when canvassing a feminist
bookstore for leads. Here he meets the owner, Kathleen; a woman who may hold
the key to finding the culprit of the case. Here Hopkins pulls out his inner
James Bond, putting on all his sleazy moves to seduce her. This is also while
being wholeheartedly dismissive of her as a survivor of sexual assault. Seeing
her as merely another object that can hurtle him towards his goal.
Woods’ ability to sink into Hopkins’ grubby nature makes the
endeavour immensely watchable. There's a swiftness in how he fornicates with a
sex worker witness. A brazenness to the obnoxious tone in his exchanges with
his boss. Hopkins is, for lack of a better word, a sleazy prick. However, the
amount of concern he gives to this case, along with the fact his hunches keep
him on track of the killer, only makes him more compelling. This is Bad
Lieutenant (1992) before Bad Lieutenant. The way the film cannily keeps focus
away from the killer helps suggest that you don’t need villains around when you
have cops like this. In an updated reference, Hopkins is no better than the
killer he’s chasing. Seeing people, particularly women, as disposable. He would
be a reason to choose the bear.
Despite this, the film applies a certain level of absurdity to the proceedings. Leslie Ann Warren, a feminist book owner comes across as a fierce activist for women’s rights. However, it’s surprisingly troubling how easily Hopkins puts the moves on her; and how swiftly she indulges him. It’s a dynamic that would be more interesting if Hopkins needed to chip away at her defences. However, the weakness within this character and her belief in white knights and happy endings feel underwritten. Although it does bring forth a dark humour to the situation. Albeit one that would perhaps get the stink-eye from folk today. Also, while Hopkins's cop credentials are established well early on, it’s a narrative in which Hopkins rarely seems to struggle in his investigative work. Hopkins is allowed to have some fiery exchanges with his head of department when he’s deprived of resources for the case. However, his hunches are unwavering, a small piece of detective is uncanny, and the conflict within the film never gets as hostile as Hopkins himself.
However, the brutally abrupt finale to Cop is such a ballsy
slap in the face, that it’s lingered in my mind for a few days since my
viewing. It’s not that the last moments are shocking in any grotesque way. But
the film’s ending is so sudden that it forced me to think about the film, as
well as parts of the subgenre. It’s commendable that the film's unromanticised
finish ensures a sense of nihilism all the way up until the end. Cop starts and
ends with a Detective on the edge; who’s so enraptured by sleaze that he’s
become addicted to it. He talks a good game about wanting to solve the case,
but the disillusionment and emptiness can be seen from the start to the final
three shotgun blasts. Copagander this ain’t.
Cop can be found on various streaming platforms.
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