Discrepancy between what critics like and what the general audience likes is something quite common. However, few examples of such phenomenon are as telling as in the case of Police Academy, 1984 comedy directed by Hugh Wilson. Despite being mostly disliked by critics (including Roger Ebert who gave it a rare instance of zero out of four stars in his review), it proved to be not only surprise box office hit, but also one of the most successful films of its time and beginning of long franchise.
The script, written by Wilson, Neal Isreal and Pat Proft, is based on relatively simple concept. The plot begins when woman mayor of unnamed big US city decides to make its police force as diverse as possible and drops all previous requirements based on gender, education or physical characteristics for future recruits at Metropolitan Police Academy. The idea of new batch of obviously unfit recruits horrifies Academy’s staff led by Commandant Eric Lassard (played by George Gaynes), but Lieutenant Thaddeus Harris (played by G. W. Bailey) plans to make their lives during training so miserable that they would quit voluntarily. One of the new recruits and nominal protagonist is Carey Mahoney (played by Steve Guttenberg), young man who likes to get in serious trouble despite his late father being a policeman. After latest incident he is likely to go to jail, but he is offered to evade it if he can endure the training. He comes to the Academy with clear intention of causing the staff to kick him, but after meeting bunch of fellow and colourful misfits and falling in love with female cadet Karen Thompson (played by Kim Cattrall) has a change of heart and decides to actually finish the course and become policeman.
Critics complained that this film lacked depth and some of those complaints are justified. The plot is rather weak and, just like in many “high concept” comedies, serves mostly as an excuse for the series of gags based on racial, ethnic or gender stereotypes, with some female nudity thrown for good measure. Basic concept might even prove insulting to some among the modern audience, who would see plot about police force getting diverse more fitting for serious uplifting drama rather than comedy that panders to lowest common denominator. Some could even accuse Police Academy of being homophobic, at least based on recurring gags that play to straight males’ discomfort when being confronted with homosexual situations. Yet, despite those flaws, this film works and this is mostly due to diverse but talented cast. Steve Guttenberg is adequate in his role but he, just like Kim Cattrall, looks bland in comparison with his colleagues, mainly character actors who deliberately go over the top. Apart from veteran George Gaynes in what could become his best remembered role and G. W. Bailey, the great performances were given by Michael Winslow as cadet with ability to making sound effects with his voice; Marion Ramsey and diminutive soft-spoken female cadet Laverne Hooks; Bubba Smith as gentle giant Moses Hightower and, last but not least, by David Graf as ultra-militaristic gun crazy former security guard Eugene Tackleberry. They create memorable characters as well as many funny scenes, including the one featuring former porn star Georgia Spelvin. Wilson directs his film well, although the quality of humour slightly decreases near the end when cadets have to prove themselves by dealing with rioters. Despite its flaws, Police Academy is still very entertaining film that proves that even films made with little ambition or expectation can create long lasting legacy.
RATING: 6/10 (++)
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