The Thin Blue Line (1988)

Director:

Errol Morris

28. novembra 1976. u Dalasu policijska patrola zaustavlja vozilo zbog saobracajnog prekrasaja, policajac prilazi i biva ubijen sa nekoliko hitaca iz revolvera. Njegova koleginica ne uspeva da odreaguje jer cirka milkshejk zavaljena na mestu suvozacha u kolima iza, pa cak ne uspeva da zapamti ni broj tablica, tako da jedini podatak koji policija ima je da je vozilo plave boje (omashila je cak i marku). Slucaj verovatno nikad ne bi ni bio razresen da se klinac od 16 godina nije hvalio medj' svojom rajom kako je upravo on upucao policajca. Policiji stize dojava i navatavaju dete, on ih vodi do vozila, pokazuje im gde se nalazi pistolj kojim je pochinjeno ubistvo, ali kasnije tokom istrage namesta 28-ogodisnjeg stopera kojeg je pokupio ranije te veceri sa pricom da je zapravo ovaj izvrsio zlocin. Policija logicno pizdi i zeli da okonca sto brze slucaj ubijenog kolege i ubicu posalje da death row, jer setimo se, u pitanju je Teksas gde je smrtna kazna ko psovka u Srbiji. Iako svi dokazi ukazuju na klinca, posto je ovaj maloletan i ne moze da bude osudjen na smrt, okruzni tuzilac se ustremljuje na starijeg osumnjicenog iako ovaj porice da se u trenutku zlochina nalazio u vozilu i uprkos tome da ne postoje skoro nikakvi dokazi protiv njega. Prezentovanje dokaznog materijala, svedocenja na prvom mestu dvojice optuzenih, a zatim detektiva, svedoka i advokata, i po prvi put u dokumentarnom filmu igrana rekonstrukcija zlocina iz vise uglova, uvode nas u REALNI TRILER koji nam ostavlja prostor da sami razluchimo sta se zapravo desilo i ko je ubica. Inace ovo je najpoznatije delo genijalnog Errola Morissa i ujedno prvi CRIME dok. koji se probio do shireg auditorijuma i tako utabao put genijalnim filmovima poput okultnog Paradise losta, Murder on a sunday morning i The Trials of Darryl Hunt. Za fanove Errola Morissa i uopste TRUE-CRIME dokumentaraca definitivno A MUST SEE. (103 min)

IMDB

"Errol Morris's unique documentary dramatically re-enacts the crime scene and investigation of a police officer's murder in Dallas. Briefly, a drifter (Randall Adams) ran out of gas in Texas and was picked up by a 16-year-old runaway (David Harris). Later that night, they drank some beer, smoked some marijuana, and went to the movies. Then, their stories diverge. Adams claims that he left for his motel, where he was staying with his brother, and went to sleep. Harris, however, says that they were stopped by police late that night and Adams suddenly shot the officer approaching their car. The film shows the audience the evidence gathered by the police, who were under extreme pressure to clear the case. It strongly makes a point that the circumstantial evidence was very flimsy. In fact, it becomes apparent that Harris was a much more likely suspect and was in the middle of a 'crime spree,' eventually ending up on Death Row himself for the later commission of other crimes. Morris implies that the D.A.'s and judge's desire for the death penalty in this case (which Harris would have been ineligible for, due to his youth), made Adams a scapegoat on which to pin this heinous crime."

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