All Coppers Are...

This is a film that doesn't quite work. It's overall feel is that of being a film that, with a little bit more time and a bit more money it could have been a gritty, real to life, classic in a 'Get Carter' (made the next year) mould.

It seems to have genuine characters who are believable and a story that builds interestingly although you feel you know the outcome of each scene. Its' problem is that, in places, it comes across as done on the cheap - the demo scenes (although not lacking impact), and the couple watching Rangers v Celtic on English telly. Also, importantly, where 'Get Carter had Michael Caine this film has Martin Potter who doesn't quite work and was possibly chosen for his good looks over his acting skills.

There are many good parts of 'All Copper Are...' and the story is a good one. Perhaps, if the film had completed the sentence for its title and gone for a AA or X certificate rather than a 12 it might have worked better.

Julie Foster shines. He natural acting stands out and hers is a memorable performance despite been given a script a script that is stodgy in parts.

There are some hard hitting moments.some interesting messages trying to get out and the film is a good look at the life and times of the early 70s which I just about remember. Unfortunately, the bad parts of the film dilute the messages, negate the force of film and it ends up seeming more dated and less relevant than it should,

All Coppers Are isn't exactly a classic - but it's definitely a product of its time. Produced by 'Carry on' Peter Rogers (with a music score from Gerald Thomas), it's another attempt by them to branch out into something grittier and more realistic - hot on the heels of the movies 'Assault' & 'Revenge' over the previous couple of years.

It has an interesting cast, and lots of good period location filming around Battersea - but in some ways this is the most interesting part of the film. It starts off brightly enough as we get to know the characters, and the story involving a young copper and a petty criminal both vying for the charms of the same girl (played by Julia Foster) sounds promising.

The problem seems to lie with the enforced 'grittiness' - it never really feels authentic, and is more like a parody of working class London at that time. It comes across as a little stilted, and doesn't have the same beating heart at its centre as similar 'kitchen sink' films from previous years (such as 'Alfie'). The story ultimately doesn't seem to reach a satisfying conclusion, send out any particular moral message, or leave any lasting impression.

Having said that, there's still plenty to enjoy if you're a fan of early 70s Brit-movies - it's lovely to see a working Battersea power station in the background of a few scenes, and the cast do their best to liven up quite a thin script.

It's very much a period piece - not the worst of its genre, but far from being the best... it's a fair cop.

This has the makings of a good film but never quite delivers. it has a good visual sense with some nice camera work and solid location shooting but the story has too many faults.

The plot concerns a working-class criminal and a married cop going after the same girl. The cop and the crim get along well at first but that changes after they know what each other does for a living and it ends in a final confrontation that ends tragically.

The basic fault with the plot is that it's too contrived and relies on far too many coincidences of the main characters running into each other to keep the plotline going. It seems that whenever the cop is on his beat he always seems to run into the criminal and the girl.

Also, the central character is the cop but because the actor playing him fails to inject much charisma into the role the crim comes off as the much more sympathetic and interesting (and better acted) character.

Still, all in all not a bad film.

All coppers are has a lot going for it. Set in gritty London of the 70s. Its the story of 2 men on opposing sides of the law. It features a strong cast and even a fresh faced David Essex. But the it tends to lack the courage of its convictions. Where the story should have been at its strongest the makers seemed to have lacked the courage to carry it through. Also most of the characters are very unsympathetic. The film does have its moments but it could have been so much better.

All Coppers Are... comes across as a slice of life kitchen sink drama of the 1960s. Only it was made in the early 1970s after the worldwide student protest movement of the late 60s.

This was the time when Carry On producer Peter Rogers who also produced this movie started to rebel against the swinging 60s to become a bit of a reactionary.

Set in Battersea. Young policeman Joe (Martin Potter) is married with a baby but gets to have a bit of fun with flighty Sue (Julia Foster) who he met at a party. Joe neglects to mention that he is married and a policeman.

Joe also befriends petty crook Barry (Nicky Henson) who he confesses to about his marital status but no his job.

Barry is also attracted to Sue and they become a couple when they find out more about Joe. Barry is also planning a cigarette warehouse robbery, if only he drove a less conspicuous car. You just know Barry's heist will go wrong and he will come face to face with Joe.

This is story with a thin plot. It was obviously inspired by the French New Wave but it lacks a ballsy approach.

The film's open ended conclusion does it no favours. The protest scene although well filmed seemed to be about nothing apart from young radicals wanting to have a punch up with coppers. It just highlights that the wrong people were involved in the movie as it had no social commentary. Their sympathies were with Barry, being a copper is a hard and dangerous life.

It needed genuine leftist filmmakers to show that times are changing.