Nighthawks (1981)
Director: Bruce Malmuth
Starring: Sylvester Stallone, Rutger Hauer, Billy Dee Williams, Lindsay Wagner
Primary genre: Neo-noir
Secondary genre: Crime
Third genre: Thriller
It’s easy to forget Sylvester Stallone’s dramatic range. After all, Sly’s name has become synonymous with two cinematic icons: John Rambo and Rocky Balboa. Amidst, however, their multiple sequels which spanned four decades (!), Stallone’s more charismatic side has been sidelined. One of the the rare occasions that sees his character being more vulnerable is in Bruce Malmuth’s directional debut and awkwardly titled, Nighthawks.
Playing a cop in an early 80s NYC, Stallone shines throughout in this bleak neo-noir crime thriller. Restrained action wise, his detective sergeant Deke DaSilva is an interesting individual away from Dirty Harry (1971) depictions of Lone Ranger mentality and more inclined to be a law-abiding police officer with reluctancy to endanger the public. Stallone sells every moment; whether he seeks to repair his relationship with his estranged wife or maintain his friendship with Billy Dee William’s best buddy (also a detective).
“Yeah, don’t sing me any operas. I’m not feeling well right now and I’m in a bad mood.”
Although Sly might be the dramatic force here, it is Rutger Hauer’s Hollywood debut that impresses the most as the film’s villain for hire. With hints from his upcoming performances in The Hitcher (1986) and Blade Runner (1982), Wulfgar is a sadistic, apathetic, and cruel international terrorist whose character perhaps sets up the European-aristocratic antagonist stereotype for American celluloid later on (Die Hard (1988), Cliffhanger (1993)). He is charming, suave, blends in easily with any type of crowd and is not reluctant to kill anyone in his path; the movie showcasing some remarkably dark stuff in hindsight. Hauer steals every scene he is in mainly because he acts well, so human. He may be merciless but even he enjoys a good flirt, a great drink, or can crack under pressure and haul a** like scurrying rat.
This slow cat and mouse game between Wulfgar and DaSilva throughout NYC is inspiringly shot by James A. Contner whose experience in William Friedkin’s Cruising (also shot in NYC) a year prior seemed to definitely have helped to elevate the picture’s aesthetic, and its slick visual style in the night sequences. A random club search turned into a lengthy foot chase is as neo-noir as they came and Malmuth along with his DoP capture stunning shots that resemble the work of Ridley Scott’s in Osaka for Black Rain (1989).
Things rarely go boom or ballistic in Nighthawks which embraces the 70s political thriller vibe seen in the likes of The Day of the Jackal (1973). Therefore, Malmuth (and Stallone who did an uncredited pass on the script) try to create a sense of unpredictability and paranoia based on Wulfgar’s actions even though they do not necessarily succeed entirely. Wulfgar’s motivations are never deciphered despite efforts from MPS’ Inspector Hartman (played with appropriate British wit by Nigel Davenport) while two subplots regarding DaSilva’s wife and another female terrorist disappear from the proceedings altogether suggesting that perhaps in a different cut, the actresses would have had more things to do.
Nevertheless, the existence of creative clashes behind the camera has not affect Nighthawks’ quality remaining a hidden and underrated gem within Stallone’s exceptionally wide filmography.
Sly’s underrated neo-noir crime thriller
+Cinematography
+Gritty crime thriller
+Hauer is excellent
+…but is Sly
+Quite dark
+Great pace
-Forgotten subplots
-Muddy characterization