THE GLASS SHIELD
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 6.7
U.S. Availability: wide release 6/2/95 Running Length: 2:15 MPAA Classification: PG-13 (Profanity, mature themes) Theatrical Aspect Ratio: 1.85:1
Cast: Michael Boatman, Lori Petty, Ice Cube, Michael Ironside, Don Harvey, Richard Anderson, Bernie Casey, Elliot Gould, M. Emmett Walsh, Victoria Dillard Director: Charles Burnett Producers: Carolyn Schroeder and Thomas Byrnes Screenplay: Charles Burnett Cinematography: Elliot Davis Music: Stephen James Taylor U.S. Distributor: Miramax Films
Charles Burnett's THE GLASS SHIELD opens with a clever conceit: comic book panels displaying the bravery and heroism of cops. That's a mindset which J.J. Johnson (Michael Boatman) buys into with all his heart and mind. Since childhood, he's wanted to be a policeman and, following his recent graduation from the academy and subsequent assignment to the Los Angeles County Sheriff's Department, he sees himself on the streets, righting wrongs and bringing evil-doers to justice.
J.J.'s first encounter with reality occurs when it becomes clear that his new place of employment is less concerned about meting out justice than maintaining an "old boys' network". Headed by the seemingly-affable Clarence Massey (played by grandfatherly Richard Anderson, best known as Oscar Goldman from the 70s hit THE SIX MILLION DOLLAR MAN), the department bubbles with intolerance from the likes of detectives Baker (Michael Ironside) and Hall (M. Emmett Walsh). The hatred isn't exclusively directed at J.J., however. Also in the line of fire is Deborah Fields (Lori Petty), who happens not only to be a woman, but a Jew as well.
Nevertheless, despite all the cold shoulders and deliberate snubs, J.J. is determined to stick it out, unwilling to let go of his glorious image of what it means to be a cop. So, when an apparent murderer (played by Ice Cube) is captured, J.J. is all-too-willing to lie on the witness stand to help put the man away. Then he discovers that he's not the only one guilty of perjury -- in fact, truth is a rare commodity in this trial.
Burnett, the director of TO SLEEP WITH ANGER and KILLER OF SHEEP, paints a bleak and disturbing picture of corruption and prejudice, basing his script on several real cases. The storyline is a bit convoluted, but it never gets so confused that the primary themes become obscured. This is a cop movie that concentrates on drama instead of action -- there's not a car chase to be seen. Burnett has chosen to focus on racism, shattered naivete, and the tough decisions that come with being caught in the middle. J.J.'s fight against the system becomes a struggle for his own identity and humanity.
One of the problems with THE GLASS SHIELD is that it settles for stock villains. Despite a series of competent performances by the likes of Richard Anderson, Michael Ironside, and M. Emmett Walsh, the bad guys here are pretty much one-dimensional from start to finish. This lack of character depth blunts the film's impact. With the exception of the two protagonists and one token veteran officer, every cop is like the next: nasty, crude, and bigoted. Positive characteristics are definitely at a premium in the L.A. County Sheriff's Department.
Burnett's screenplay has a tendency to be a little too preachy, especially during the unsatisfying final scene. There's a fine line between getting the message across through subtlety and becoming didactic, and THE GLASS SHIELD occasionally strays across it. Despite this, however, the film clearly has something worthwhile to say, and does so in a manner that, while not ground-breaking, is at least engaging. There just should have been a little more gray amidst the black-and-white.
- James Berardinelli (jberardinell@delphi.com)
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