“Spencer,” according to Peter Burg: Police Action Cinema


An American policeman is released from prison after 5 years after being admitted to him on charges of physically violating an officer in charge of him. The tension is controlled between them in the period before the attack. In prison, the policeman, to whom he is told, calms down, either cynically or honestly, loved by everyone. But the one who beats him is beaten with the company of others once he finishes this thing. Surveillance cameras in the large room reveal that the imprisoned policeman is assaulted. So, strict procedures are not necessary, knowing that the date for his release from prison is very close.
The intensification of the irrigators in the first minutes of Spenser Confidential (broadcast by the American platform “Netflix” since March 6, 2020) will ensure that everything is in its dramatic place. Minutes presents the policeman and other personalities, and as he leaves prison, and meets a friend who hosts him at his home, things seem normal and simple.The policeman, named Spencer, is performed by actor Mark Wahlberg in his fifth film with director Peter Burg. Creating the character belongs to author Robert B. Parker (1932-2010), best known for his detective novels, including “The Spencer Series”, of which 41 novels were published, between 1973 and 2013, knowing that his last two novels were confiscated after his departure: the first immediately after his death entitled “Sixkill”, and the second incomplete, The publisher Helen Bran (1932-2015) completed and published it in 2013, entitled “A Silent Night”.

But the movie, Peter Burg, is taken from “Wonderland” (2013), by journalist and writer Ace Atkins, also with a series of detective novels, some based on the same character, with different titles, under a fixed title, “According to Robert B. Parker” (these are all Americans). .

On his first night outside the prison, which he spends at the home of his friend Henry Kimmole (Alan Arken), John Boylan (Michael Justin), the former officer in charge of Spencer, is killed. Suspicions are circulated around him immediately, as the majority of the police in Boston Center are uncomfortable with their former colleague. Two of them visit him the next morning, to ask quick questions to him. Spencer will not be silent about the crime, as he wants to confirm his innocence in front of everyone. An unofficial investigation (he is forbidden to work) is getting excited, after the murder of a black colleague, known for his integrity, Lt. Terence Graham (Branden Skiles). With the help of those close to him, Spencer navigates a minefield. The Boston Police Station is full of corrupt, murderous, and criminals, and calamities surround him, revealing those involved in murders and corruption without him. In the end, Spencer achieves his victory over evil for justice and right.

Like most films of this police type, questions arise that are reduced to the dichotomy of good and evil, truth and unfairness, justice and injustice, etc. Duales The American Police Action cinema has donated and made films that entertain and inspire, while at the same time affirming that good, truth and justice are victorious and predominant for people who rise and fight evil, injustice and injustice. Cinematic genre accomplished literally characterizing the numerous films of Peter Burg, some of which are thrilling, as “The Kingdom” (2007), by the championships of agents of the Federal Bureau of Investigation (FBI) in chasing terrorists who attack a residence for Americans residing in Riyadh, Saudi Arabia (from The atmosphere of the terrorist attack on Americans in “Al-Khobar”, Saudi Arabia, June 25, 1996). Or as “Patriots Day” (2016), his third film shared with Walberg, which is derived from the terrorist attack on participants in the 117th edition of Boston Marathon, April 15, 2013: extensive investigations to uncover the perpetrators (Chechen brothers Djokar and Tamerlan Tsarmaev).

But Borg has other cinematic experiences as well: comedy and drama duality (very bad things, 1998), fantasy (Hancock, 2008) and science fiction (warship, 2012). With Spencer, he recovers what appears to be the most successful achievement: police suspense. His first collaboration with Mark Wahlberg took place in 2013, and he was titled “Lone Survivor”: adapted from “The Survivor” (2007 first original edition, 2013 French translation) by Soldier Marcus Lotterle (Navy SEAL – US SEAL) ) And British writer Patrick Robinson. The film follows the facts of a failed military operation of the same band, carried out against the “Taliban” in Afghanistan (28 June 2005). The second collaboration, made in 2016, titled Deepwater Horizon, is based on the article by David Barstow, David Road, and Stephanie Sole, “The Final Hours of Depot Oraison,” published in The New York Times (December 25, 2010), on the disaster of an oil site in the Gulf of Mexico (20 April 2010). Two years ago, Mark Wolberg takes part in “Mile 22”, in his fourth collaboration with Peter Burg: an interesting movie, diving into the repercussions of a conflict between CIA agents and the Russian Security Service (FSB).

In all of this, as with Spencer, Peter Burg weaves his interesting, detective, police, and catastrophic movies, traditionally, though sometimes including “breathtaking” scenes. As he defrauds a thinking that makes him a defender of official American values, in a permanent battle against the bad (non-Americans), the “sole survivor” avoids every clear condemnation of his approaching more than one individual sense of disappointment or ruin.


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