The Cars Of Michael Mann’s “Crime Story”

Like many fans of vintage cars, I do enjoy a show with plenty of classic cars rolling around. And back in the mid-80s, for a short while, that not-quite-common need was satisfied by “Crime Story”. A groundbreaking period cop drama produced by Michael Mann, stuffed with all sorts of glitzy rides from the ’50s and ’60s. You wanted some shiny Jet-Era fins in your RCA box set at prime time hours in 1986? If so, “Crime Story” was your happy place.

Glossy production and neat cars aside, “Crime Story” was more than a nostalgia-based TV production. It was, arguably, the first detective drama to bring serialized storytelling to prime time. An idea perhaps too bold for its time that’s left this precursor in relative obscurity today. Still, it planted the idea in more than one TV creative, and by 1987 the better-known and more successful semi-serialized Wiseguy debuted in 1987. And as is well known, the format is today’s standard.

Not that “Crime Story” failed for lack of trying. The show was, after all, an ambitious proposal by filmmaker/producer Michael Mann. Glossy, expensive, occasionally over the top, and quite gritty for its time. As per his custom, the show offered a stylized take on the cop drama, inviting viewers to the dark side of the 1960s underworld once a week; starting with the pilot, shown in the fall season of 1986.

 

However, let’s backtrack a bit before we join our “Crime Story” squad.

By ’85, Michael Mann was riding high from the rise of “Miami Vice”, where he served as executive producer. Whatever your feelings about the pop-oriented “Vice”, the show became a (short-lived) cultural phenomenon and a ratings sensation.

As it often happens at the smell of success, Mann basically got carte blanche from NBC for his next production. He aimed high, with a radical notion at the time; a serialized cop show set in the 1960s. A “21-hour movie”, told through time and space. The show’s anchor plot: a cop’s relentless pursuit of a rising mafia leader, as the chase moved from Chicago to Las Vegas and from the 1960s to the 1980s.

The notion is a standard now, but before “Crime Story” police dramas were self-contained episodes. A concept, that as later productions have proved was too limiting and contrived to tell deeper themes. As such, “Crime Story” wasn’t your usual: “Cop comes across a crime, captures the perpetrator, and falls in love with a new flame in 45 minutes” –the standard storytelling at the time.

Instead, “Crime Story” focuses and explores in greater detail various topics that have been a mainstay in Mann’s career: Mainly, the structures of power and the dark money behind them. All sustained in fact-based, semi-documentary style storytelling; wrapped in expensive production values. Filming techniques that are core to Mann’s filmmaking to this day.

Just like “Vice”, Mann’s new show was an awfully expensive production for the time. Filled with perfect 1980s dramatic lighting, tons of locations, and the costs of emulating the feel of the 1960s.

Notice I said “emulating”, which is quite different from “recreating”. A warning to those now accustomed to “Mad Men” degrees of period faithfulness. Truthfully, no one back then could afford it, and besides, much of the public wasn’t quite ready for it.

Instead, the show had more of a “feel of the ’60s” as seen through a mid-80s sensibility. In “Crime Story”, the fashions, cars, and hairstyles were those ’60s items that “felt cool” in the ’80s. Not too different from something like 1978’s “Grease” is to the ’50s.

And the cars are a great part of “Crime Story’s” alternative early ’60s reality; where fin-tastic Chrysler products are common, GM’s –outside Cadillacs– are somewhat rare, and ’59/’60 Fords seem to have been the norm in all of the USA. At least in police squads.

Did I mention Mann’s fact-based storytelling? To begin, the “Vice” producer made rather daring casting choices; “Crime Story” would have little of the pretty “Miami” boys on the screen, at least when it came to the “good guys”.

As such, Dennis Farina, a former Chicago cop, played the show’s lead; Lt. Mike Torello of the Chicago Police Crime Squad. Farina was far from the nice-looking “good guys” of mid-80s TV and had served as a consultant in previous Mann productions.

Farina plays Torello with unabashed intensity, being forceful and quite brutal (for the times) on more than one occasion. Considering his previous life as a cop (some of it before Miranda), and the way he “cross-examines” suspects in often bullish ways, the question comes: Was he really “acting” or “reenacting”?

Farina wasn’t the only one “reenacting” in the show. Meet real-life convicted criminal John Santucci, another Mann consultant who found his way into a steady acting role. Here he’s playing Pauli, at the wheel of a getaway car in “Crime Story’s” pilot episode.

Santucci’s real-life crime abilities? Safe-cracking. It was this “expertise” that caught Mann’s attention at first, and Santucci’s heist would be recreated in a couple of Mann’s productions. First, in the ’81 cult-classic “Thief” (with James Cann), and again, in “Crime Story.”

Talking about “Thief”, not only Farina and Santucci had served as consultants on that production, but also Chuck Adamson; the Chicago Police sergeant responsible for Santucci’s arrest. Adamson would remain in contact with Mann; eventually serving as “Crime Story’s” co-creator (with Gustave Reininger) and providing real-life accounts to sustain the show’s storytelling.

Lt. Torello’s nemesis was rising mafia don Tony Lucca. Played by Anthony Dennison, the series follows Lucca as he goes from a low-ranking criminal to a mob boss. All with the help of his henchman Pauli (Santucci); a relationship that occasionally veers into –intended– comic relief.

Dennison plays Lucca with a cold intensity, and it’s the perfect sneering opposite of Torello. And yes, he does wear that somewhat funny-looking Elvis-style hairdo throughout the show.

Because in the eyes of the 1980s, all 1950s hoodlums looked like Elvis. Or so was the idea…

Mann’s productions have a curious way of taking much inspiration from reality while also being stylish, exciting, and, sometimes, over the top. An amalgam of high action and fact-inspired storytelling, with detailed attention to art direction.

As such, “Crime Story” is no different. The show’s proceedings go from lushly set up action scenes, occasionally portraying rather cold brutality (for the times). All amidst much chest-puffing by the male-dominant cast; in scenes that occasionally veer into operatic intensity.

The pilot, directed by Abel Ferrara, includes a rather memorable scene with ’59 Fords in chasing action. Dearborn’s products take over the night, in pursuit of each other, nicely swerving all over the roads. (The clip is on Youtube HERE.)

That pilot episode also includes a dramatic robbery scene in a department store, shot in a handheld style; edgy stuff for the 1980s. As per 1980s storytelling custom, all is resolved with plenty of gunshots. You know, the ol’ “let’s be groundbreaking, but not too groundbreaking…”

Talking about storytelling standards of the time, Torello’s ride is a ’57 Chrysler 300C convertible; one of 484 built for that year.

Because back in those days, no self-respecting lead character would drive anything without personality. Just think of Magnum, Columbo, The Saint or Mannix.

A bit of make-believe, true, but let’s not be too hard on Torello. After all, the man’s life was constantly in danger, and that 300C’s mission was to show the man the sunnier side of life. Literally.

Now, criminals also liked their cool rides. And this eye-grabbing two-tone ’59 Studebaker Silver Hawk makes repeat appearances across Season 1. The official ride of small-time criminal and Lucca associate Frank Hoffman; a character played by Ted Levine (the killer in Silence of The Lambs).

Another otherworldly automotive curiosity is the Crime Squad’s main ride, a ’61 Plymouth Fury convertible. Because nothing helps a police stakeout like an eye-grabbing, attention-calling, mean-looking droptop. Right?

Tony Lucca, meanwhile, stays true to the aspirational cars of the mob, as per TV storytelling; Cadillacs and Lincolns (though Imperials make a couple of appearances). Here is a bunch of Caddys, with Lucca arriving for a mob meet…

… right into his boss’ modernist house. ‘Cause, as we know, mob bosses are really into modern architecture…

… And dramatic settings for their meetings.

A 1980s production can’t remain too long without a nifty car chase, and Lucca’s Caddy is put to the test a few times throughout Season 1. This sequence makes for another pretty good scene that, for once in the show, is GM-centric.

Far more common in the show are the ’59 and ’60 Fords that are the mainstay of “Crime Story’s” police forces.

Chevrolets are, oddly, fairly rare throughout the show. Part of Mann’s intent of making “Crime Story” its own reality? Or did the filmmaker/producer hold some kind of grudge against the bowtie brand?

In any case, a ’61 does get a few minutes of prominent display –before being crushed– in Ep. 3, “Shadow Dancer.” An episode that starts rather procedural and ends in a dramatic chase.

Of course, part of the appeal of watching an old show like “Crime Story” is to see “would-be stars” in their early days. As said, Mann was doing good at the time, so I’m sure plenty of names wanted to make it into the production. Julia Roberts, Michael Madsen, David Caruso, Ving Rames, and Gary Sinise, among others, make appearances. Faces that would become far better known soon enough.

Established faces find their way into the show as well, like Pam Grier, who portrays “Crime Story’s” most interesting female character…

And then, Joseph Wiseman. James Bond’s “Dr. No”, appropriately playing the mob’s main kingpin. Of course.

As the episodes progress, the story finds its way to Las Vegas, as originally intended by the show’s creators. At this point, “Crime Story” truly uses Las Vegas lights playfully against those sinuous 1950s-1960s car shapes.

You’ll also notice that, unlike reality, “Crime Story’s” Las Vegas streets are perpetually wet at night. A bit of make-believe that’s far from true, but always looks oh-so-cool in film. (Now that I told you, you won’t unsee it).

Season 1 ends in a dramatic shoot-out, as it could only be; crashing cars and flying bullets, all over Las Vegas’ “rain-soaked” glistening main streets…

… followed by a short epilogue that’s been controversial since airing. Part of an over-the-top semi-cliffhanger, that plays into the “surprise the audience” mentality of the era; some find it “cool”, others just plain “dumb”. I won’t spoil it here, but I’ll leave the image above as a hint.

Notice I said that Season 1 ended in a semi-cliffhanger. Unlike “Vice”, “Crime Story” failed to sustain an audience after a strong start. Partly due to schedule changes (first placed then-almighty “Moonlighting”, then moved mid-season against “Falcon Crest”), and likely also due to the serialized format. A challenge to audiences of the time.

The semi-open Season 1 ending served as a “holdover” in case the show didn’t get a second chance. Something the production seriously feared, as the ratings had dropped dramatically.

But against their expectations, NBC did renew the show for ’87-’88; their faith in Mann’s productions still strong.

Maybe they should have thought about it some more…

Season 2 kept the storytelling mostly in Las Vegas but with the threat of cancellation around the corner, the production took a reckless approach. Playing with the format, mostly losing the serialized concept, adding a synth-based/rock soundtrack, and doing a couple of episodes that were just plain weird. Among other issues. In later interviews, Mann said they just had “fun” doing what they wanted, feeling the show would die regardless.

Well, I’m glad Mann and his acolytes had fun with Season 2. I certainly didn’t while trying to watch it.

The show’s best season, by far, is the first. So, another show that fails to live up to its potential after a strong start. What else is new?

Still, “Crime Story” has a legacy, of sorts. Not a show that the general public knows, but instead, the precursor that inspires productions that will take on the idea’s thunder and make it shine. Elsewhere, we know that Mann moved to a steady film career that explored with more finesse the themes of this serialized cop drama. While Farina would develop a career as a character actor. No “pretty boy” faces needed.

As for me, the show left indelible marks and tons of joy. Mostly, from watching it as a teenager, delighting in all those fancy old cars on the screen every week.

If seen today, the show has some of the tropes and limitations of the era, but the effort’s boldness can’t be denied and when it worked, it made for terrific TV. It’s certainly more watchable than many other 1980s cop/detective shows, an era when cartoony storytelling was common in the genre.

Leaving those considerations aside, we’re also here to talk about the cars. And when it comes to that area, the eye-grabbing quality of “Crime Story’s” shiny rides still gets the “thumbs up” in the eyes of this occasional critic.