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Film retrospectives seem to be in scarce supply these days unless they’re tied to a new release, a remake, or an untimely death. Thankfully, The New York Times’](http://www.nytimes.com/2010/01/24/nyregion/24serpico.html?pagewanted=1) piece on Frank Serpico was inspired by none of the above, it’s just an intriguing look back at Sidney Lumet’s film Serpico](Serpico (1973) - Movie | Moviefone) and the man who inspired it.
The real Frank Serpico has hardly disappeared from the radar (he has an official website and a blog), but Corey Kilgannon’s profile is a particularly haunting piece because it confronts its subject with his own movie biopic. Serpico has never managed to watch the film all the way through, but reluctantly agreed to watch it with Kilgannon. “As Pacino, near death, was rushed to Greenpoint Hospital, the real Mr. Serpico stared out the window, unable to watch – too painful, he said. He provided a running commentary: His own wardrobe was much better than in the film, as were his police disguises. The scene in which the police commissioner hands him a gold detective shield in the hospital bed was conjured; in reality, he picked it up from a clerk at police headquarters.” Serpico is currently working on an autobiography that will complement Peter Maas’ biography, and tell the story from his point of view. In an intriguing example of life-imitating-art, Serpico begins his book exactly where Lumet began his film, though Kilgannon implies that he’s never actually watched those scenes.
Though Lumet ends the film on a triumphantly somber note, Serpico’s life hasn’t been an entirely peaceful or happy one. He’s still plagued by physical pain, recurring nightmares, and bitter memories. Though he’s always been a hero in the public eye, and a cinematic touchstone thanks to Al Pacino, the NYPD museum isn’t interested in displaying his uniform or service revolver. So much for a Hollywood happy ending.