Tag Archives: review

Lisa Reviews A Palme d’Or Winner: The Son’s Room (dir by Nanni Moretti)

Posted on by Lisa Marie Bowman

With the 2021 Cannes Film Festival underway in France, I thought this would be a good opportunity to spend the next few days looking at some of the films that have won the Palme d’Or in the past.  As of this writing, 100 films have won either the Palme d’Or or an earlier version of the award like the Grand Prix du Festival International du Film.  Some of those films — like Parasite, The Tree of Life, The Piano, Pulp Fiction — went on to American box office success and Oscar renown.  Others, like 2001’s The Son’s Room, may have been snubbed by the Oscars but they went on to great success in their home country.  The Son’s Room, for instance, won Italy’s David Di Donatello award for the best film of 2001.

The Son’s Room is a film about a family trying to deal with an unimaginable tragedy.  Andrea (Giuseppe Sanfelice) is the 17 year-old son of therapist Giovanni (Nanni Moretti, who also directed) and Paola (Laura Morante).  Andrea, it is quickly  established, is an almost ideal teenager.  He doesn’t resent his parents.  He doesn’t get into any sort of major trouble, beyond stealing a valuable fossil as a part of a prank that goes wrong.  His parents know that he occasionally gets high but they also understand that it’s no big deal.  It’s just a part of being a teenager.

One day, when Giovanni and Andrea have made plans to go jogging, Giovanni gets a call from a patient who has received some troubling news and who needs to see him immediately.  Giovanni has to cancel their plans.  Andrea instead goes diving with a friend and, in a freak accident, drowns.  Giovanni, Paola, and and their daughter Irene (Jasmine Trinca) are left to mourn and to try to find some sort of meaning in Andrea’s death.

The Son’s Room is hardly the first film to be made about the untimely death of a family member.  In 1980, Ordinary People won the Oscar for Best Picture for telling a story about a similarly upper class family trying to come to emotional teams with the loss of a brother and a son.  What sets The Son’s Room apart from Ordinary People and other similar films is what doesn’t happen.  As opposed to what happens in so many other films about families dealing with loss, the death of Andrea does not reveal that his family was secretly dysfunctional.  His family doesn’t discover that Andrea was deeply depressed or that his death wasn’t a random accident.  Instead, the point of the film is that, even though the family was strong and even though Andrea was happy and had everything to look forward to it, he still died because sometimes, happy people die in freak accidents.  It’s not just dysfunctional families that suffer.  Even  a strong family struggles to deal with grief.

The film follows the family through the stages of grief.  At first, the family members fixate on imagining what life would be like if Andrea hadn’t gone swimming that day.  They resent Giovanni’s patient, even though the patient couldn’t have known what was going to happen.  They try to find someone to blame for Andrea drowning, just to discover that everyone did everything that they were supposed to do.  Andrea’s death was random, as death so often is.  Then, they’re contacted by a casual acquaintance of Giovanni, a girl named Arianna (Sofia Vigilar) and they’re finally given a chance to find some sort of meaning in what happened.

The Son’s Room is a deeply affecting movie, one that works because it largely eschews the type of melodrama that we’ve come to expect from films like this.  The film’s refusal to idealize, blame, or demonize any of its characters makes it a film to which anyone can relate.  It’s an honest look at grief but it’s also a film that earns the right to suggest that there’s no need to feel guilty about eventually moving on from sadness.  It’s a film that acknowledges that life can be random and scary but it can be pretty wonderful as well.

It’s an effective film, one that was reportedly a popular winner at the 2001 Cannes Film Festival, where its competition included Shrek, The Man Who Wasn’t There, The Piano Teacher, and Mulholland Drive.  (Fear not, Mulholland Drive still won the directing award for David Lynch.)  20 years after it was initially released, The Son’s Room holds up well as a look at both grief and the love of a strong family.

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Lisa Reviews a Palme d’Or Winner: Scarecrow (dir by Jerry Schatzberg)

Posted on by Lisa Marie Bowman

With the 2021 Cannes Film Festival underway in France, I thought this would be a good opportunity to spend the next few days looking at some of the films that have won the Palme d’Or in the past.  As of this writing, 100 films have won either the Palme d’Or or an earlier version of the award like the Grand Prix du Festival International du Film.  Some of those films — like Parasite, The Tree of Life, The Piano, Pulp Fiction — went on to huge box office success and Oscar renown.  Others, like 1973’s Scarecrow, did not.

Scarecrow is an example of a type of film that was very popular in the 70s.  It’s a road film, one in which two or more people take a journey across the country and discover something about themselves and, depending upon how ambitious the film was, perhaps something about America as well.  Scarecrow centers on two drifters, who just happen to meet on a dusty road while they’re trying to hitch a ride.  Max (Gene Hackman, fresh off of winning an Oscar for The French Connection) is an ex-convict with a bad temper and a huge chip on his shoulder.  Lion (a young Al Pacino, fresh off of The Godfather) is an ex-sailor who views the world with optimism and who appears to be sweet-natured but simple-minded.  To be honest, it’s a little bit hard to believe that the perpetually resentful Max and the always hopeful Lion would ever become friends but they do.  They travel around the country, talking about their dreams of opening a car wash together.  They meet up with ex-girlfriends and ex-wives.  Eventually, they even end up in a prison farm together, where Lion, temporarily estranged from Max, is taken advantage of by a sadistic prisoner named Riley (Richard Lynch).

Scarecrow is an episodic film, one that moves at its own deliberate pace.  (If that sounds like a polite way of saying that the film is slow-moving …. well, it is.)  Director Jerry Schatzberg was a photographer-turned-director and, as a result, there’s several striking shots of Max and Lion standing against the countryside, waiting for someone to pick them up and give them a ride.  Whenever Max and Lion end up in a bar, the scene is always lit perfectly.  At the same time, Schatzberg also attempts to give the film a spontaneous, naturalistic feel by letting scenes run longer than one would normally expect.  There’s several scenes of Hackman and Pacino just talking while walking down a country road or a city street.  On the one hand, you have to appreciate Schatzberg’s attempt to convince us that Max and Lion are just two guys with big dreams, as opposed to two Oscar-nominated actors pretending to be societal drop-outs.  On the other hand, Schatzberg’s approach also leads to an interminably long scene of Gene Hackman eating a piece of chicken and if you think that Gene Hackman was the type of actor who wasn’t going to act the Hell out of gnawing on and gesturing with a chicken bone, you obviously haven’t seen many Gene Hackman films.

The main appeal of the film, for most people, will probably be to see Gene Hackman and Al Pacino, two of the top actors of the 70s, acting opposite of each other.  Reportedly, both Hackman and Pacino went full method for the film and spent their prep time on the streets of San Francisco, begging for spare change.  The end result is a mixed bag.  There are a few scenes — like when they first meet or when they’re in prison — in which Hackman and Pacino are believable in their roles and you buy them as two lost souls who were lucky enough to find each other.  There are other scenes where they both seem to be competing to see who can chew up the most scenery.   Sometimes, Pacino and Hackman are compelling acting opposite each other.  Other times, it feels like we’re just watching an Actors’ Studio improv class that someone happened to film.  Too often, Hackman and Pacino seem to be so occupied with showing off their technique that the film’s reality seems to get lost under all of the method showiness.  In the end, neither one of the film’s stars makes as much of an impression as Richard Lynch, who is genuinely frightening in his small but key role.

Scarecrow is an uneven film, one that is occasionally effective but also a bit too studied for its own good.  It wears it influences — Of Mice and Men, Midnight Cowboy, Five Easy Pieces — on its sleeve but it also fails to exceed or match any of those previous works.  That said, the film does have its fans.  (Schatzberg has been working on a sequel for a while.)  Certainly, the 1973 Cannes Jury (headed by none other than Ingrid Bergman) liked it enough to give it the Palme.

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Film Review: The Conjuring: The Devil Made Me Do It (dir by Michael Chaves)

Posted on by Lisa Marie Bowman

The year is 1981 and Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga, of course!) have just screwed up another exorcism.  Only Ed hears as Arne Johnson (Ruairi O’Connor) begs the demon that has possessed 8 year-old David Glatzel (Julian Hilliard) to enter him instead.  Unfortunately, Ed also has a heart attack and passes out before he can tell Lorraine what has happened.

The next month, a hollow-eyed Arne is walking down a road.  He’s just murdered his sleazy landlord, stabbing the man 22 times.  It seems like an open-and-shut case, except for the fact that Arne claims that he was possessed by a demon and that it was the demon who actually committed the crime.  At first Arne’s lawyer is planning to go for an insanity plea but then Ed and Lorraine invite her to come have dinner with them and to see their favorite doll, Annabelle.  The film immediately cuts to Arne’s visibly shaken lawyer announcing to the court that her client pleads “not guilty by reason of demonic possession.”

It’s a funny scene and I was a little bit surprised to see it because, in the past, The Conjuring films have always been distinguished by how seriously they took themselves.  The first two films both unfolded in atmospheres of growing dread, following families that not only had to deal with societal evolution but also with angry spirits.  The first two Conjuring films worked not only as horror films but also as period pieces, as stories about changing times.  Though Ed and Lorraine were always the main investigators, the first two films devoted as much time to exploring the dynamics of the haunted families as it did to portraying the Warrens.

The Conjuring: The Devil Made Me Do It (or, as we’ll call it in the interest of space, The Conjuring 3) takes a different approach, which I imagine has much to do with Michael Chaves directing the film instead of James Wan.  This time, Arne and the possessed family all remain ciphers.  We never learn much about who they are or who they were before they met the Warrens.  We don’t know what Arne was like before he became possessed and, as such, it’s hard to get emotionally invested in him once he does end up with a demon inside of him. 

Instead, the film emphasizes Ed and Lorraine Warren and their work to uncover the occultist who was behind the original possession.  Ed worries about Lorraine as she has psychic visions and wanders around yet another dirty basement.  Lorraine worries that Ed is going to give himself another heart attack as he hobbles through the woods in search of an evil spirit.  Lorraine proves her powers to a skeptical detective.  Ed complains that he doesn’t want people treating his wife’s abilities like a carnival sideshow but he still allows himself a slight smile when she selects the correct murder weapon.  Of course, at one point, Suspicious Minds is heard on the radio and we briefly flashback to Patrick Wilson singing the song in The Conjuring 2.  Once again, the film argues that Ed and Lorraine’s romance, their endless love, makes them uniquely capable of battling the Devil.

The film has its moments, largely because Patrick Wilson and Vera Farmiga are adorable as Ed and Lorraine.  At the same time, though, there’s a definite “greatest hits” feel to the third Conjuring film.  There’s little about the film that feels truly spontaneous or surprising and most of the scenes feel like reworkings of scenes that worked in the previous two films.  As good as Farmiga and Wilson are in their roles (and as much as I appreciate the idea of a Catholic super hero film franchise), Ed and Lorraine work best when they’re relating to and helping other characters.  The Conjuring 3 often solely focuses on them and the end result often feels more like an Insidious sequel than a Conjuring film.

The Conjuring 3 is enjoyable enough.  It gets the job done, while never reaching the emotional heights of the first two films.  It has enough jump scares to be a fun movie to watch on a rainy night but it’s not one that really sticks in your mind after it ends.

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Lisa’s Week in Television: 6/27/21 — 7/3/21

Posted on by Lisa Marie Bowman

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This week, my plan was to get caught up on all of the MCU shows and Mare of Easttown and all the rest.  As you’ll soon discover from looking at the list below, that didn’t happen.  But that’s okay.  By the time next week, I will be caught up on everything, just in time for the Emmy nominations.

Here’s what little I watched this week!

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Allo Allo (Sunday Night, PBS)

Rene’s got a new radio but he’s got no way to power it!  He’s also got a huge amount of sausages, some of which are real and some of which hide a forged painting.  To be honest, I struggled a bit to follow the plot of this week’s episode but all of those sausages being tossed around made me laugh.

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The Bachelorette (ABC, Monday Evening)

I’m just going to admit it.  I don’t like Katie Thurston.  I wanted to like Katie.  I tried really hard to like Katie.  I agree with Katie on so many things.  But this week’s Rose Ceremony-dismissal of Thomas was just too …. bleh!  Basically, Katie felt that Thomas was there for “the wrong reasons.”  She was right, as far as any of that can really be determined.  (Is anyone ever on a show like this for the right reason?)  And she felt Thomas was creating drama and being a toxic influence and again, she’s right.  But the way she sent him home was so self-righteous and overdramatic and specifically designed to be a big viral moment that it’s hard not to feel that Katie really wasn’t that much better than Thomas.  Katie’s complaint was that Thomas was treating the show like a “Bachelor audition” but Katie came across like she was auditioning for Bachelor in Paradise.

To be honest, it’s been a while since I really liked any of the bachelors or bachelorettes on this show.  I guess that’s why I never mind when things don’t work out for them after the final rose.

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Couples Court With The Culters (Channel 33, weekday morning)

I watched the case of Stoltz vs. Winning on Friday morning.  From the start, it was pretty obvious (to me, if not the judges) that Mr. Stoltz was cheating but at least Ms. Winning got to wear a really pretty green dress on TV.  After watching the show, I bought a new green dress for myself!  Anyway, Mr. Stoltz and Ms. Winning were actually a really cute couple so I hope things worked out for them.

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Dragnet (MeTV, Weekday Mornings)

Dragnet was one of the first cop shows.  Premiering in the 50s and featuring Jack Webb as no-nonsense Sgt. Joe Friday, Dragnet’s episodes were based on actual cases that were investigated by the LAPD.  The 1950s Dragnet, with its semi-documentary style, is considered to be a forerunner of shows like Law & Order.

Of course, I’ve never actually seen the 50s Dragnet.  That’s because that version of Dragnet is rarely repeated, even on the retro stations.  Instead, the version of Dragnet that currently shows up on MeTV is the second version of the show, which ran from 1967 to 1970 and which featured Jack Webb stiffly lecturing hippies on why the law had to be obeyed regardless of whether or not they agreed with it.  While this version of the show wasn’t always as campy as it has since been made out to be, the show’s best-known episodes do tend to feature Friday sighing in disappointment while someone with long hair tells him that “smoking a little grass is no big deal, baby.”

I set the DVR to record Monday morning’s episode, largely to see if I might be interested in watching and reviewing Dragnet for this site.  (I’ve seen a few episodes over the years but I’ve never sat down and watched the whole series from beginning to end.)  The episode I recorded was from 1970 and it was one of the last episodes of the second version of the show.  Friday was taking a night class, one in which the idea was for the students to just talk about their differing views of the world.  When Friday noticed that one of his fellow students had a baggie of weed in his notebook, Friday arrested him.  The scandalized class then voted to kick Friday out.  Friday gave a speech about why the law had to be obeyed and he refused to apologize for arresting his classmate.  In fact, he declared, he would do it again if he had to!  Friday won over some members of the class but not enough to overturn the vote.  However, another classmate revealed that he was an attorney and that he was prepared to sue the professor on Friday’s behalf.  “Cops have constitutional rights, too!” the lawyer said.  Friday nodded in agreement as the show ended.  It was a bit of a silly episode, as any episode featuring Friday interacting with the counter culture tended to be.  (Until he made his arrest, no one suspected Friday of being a cop despite the fact that everything about him literally screamed, “Cop!”)  I especially liked the fact that the liberal professor had a Van Dyke beard and was made up to resemble a Satanic high priest.  At the same time, this episode can today be viewed as an early example of cancel culture and, in the end, it did make a good point.  Everyone has a right to an education.  That said, it really didn’t look like the student had that much weed on him and I personally probably would have been uncomfortable being in a class with Sgt. Friday.

On Wednesday, I DVR’d the first ever episode of the 60s Dragnet.  From 1967, “The LSD Story” was just what the title implied.  Friday and his partner, Bill Gannon (Harry Morgan), investigated a bunch of swinging hippie drug parties and they met a teenage dealer called Blue Boy.  Blue Boy’s wealthy parents refused to get upset over his druggie ways and, somewhat inevitably, Blue Boy ended up dead of an overdose.  On the one hand, it was definitely heavy-handed and over-the-top and the show’s insistence that marijuana would automatically lead to LSD was undeniably cringey.  But, at the same time, there was a sincerity at the heart of the episode.  My first thought was to call it the epitome of a Boomer show but Dragnet was really a Silent Generation show.  The boomers, after all, were the ones dancing in front of the lava lamp.

The first of Thursday’s episodes featured Friday and Gannon investigating a burglary of several pounds of explosives.  It turned out that it was stolen by a blonde man who wore a brown shirt and had a big Nazi flag hanging in his apartment.  The man argued that he wasn’t a Neo Nazi terrorist but seriously — this flag was right there!  The second episode featured Friday and Gannon investigating a kidnapping and who would guess that an episode about a kidnapping would be so talky?  Compared to the cop shows of today, Dragnet was very much obsessed with showing that everything iwas being doing exactly by the book and the kidnapping episode was more interested in examining how a fake ransom payment is set up than on the payment itself.  It was a bit dry but also a change of pace from what I’m used to.

The first of Friday’s episodes featured Joe Friday and Gannon interrogating a cop who was suspected of holding up a liquor store.  The cop turned out to be innocent but what was interesting about the episode was that the emphasis was put on Friday and Gannon being just as tough and suspiciously-minded with a colleague as they were with everyone else.  There was none of that “one of their own” stuff that you tend to find in more recent cop shows.  The second episode featured the hunt for a group of red-masked bandits.  It was fairly dry but it got the point across, that everyone was a professional doing the best they could to keep Los Angeles safe.

My main thought on Dragnet so far — the first season feels a bit arid, though there were a few campy moments, especially in the LSD episode.  Still, it’s interesting to see what Los Angeles looked like in the 60s and the show was definitely well-intentioned.  Jack Webb may not have been a particularly expressive actor but he brought enough sincerity to the role to keep things moving.

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Hell In The Heatland: Where are Ashley and Lauria? (HBOMax)

I watched this four episode, 2019 docudrama on Sunday.  It was about the 1999 murders of Ashley Freeman and Lauria Bible, two Oklahoma teenagers.  It was also about how meth is destroying certain parts of rural America.  It was disturbing stuff and made all the more tragic by the fact that, though we now know what happened to Ashley and Lauria, we still don’t know the location of their remains.  The Bibles and Freemans are still waiting for their chance to give Lauria and Ashley a proper burial.

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Hell’s Kitchen (Monday Night, Fox)

The Red Team finally had to face an elimination.  Morganna was sent home.  I have to admit that I didn’t realize Morganna was on the show until she was kicked off, which probably explains a lot as to why she was eliminated.

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Lauren Lake’s Paternity Court (Weekday Mornings, Channel 33)

I watched two episodes on Friday morning because I was too lazy to change the channel. My favorite thing about this show is how, at the start of each episode, Judge Lake snaps, “Good day, everyone!” at the courtroom and the courtroom replies with the most desultory “good day,” imaginable.

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The Love Boat (Sunday Evening, MeTV)

This week’s episode was the second part of the story that was started last week.  The Love Boat crew was in Australia, for their cruise director, Julie’s, wedding.  Meanwhile, the missing link was being held prisoner in a cage by Jose Ferrer.  Yes, it was weird.  Anyway, it turned out that the missing link was a fake who had been hired to swindle the gullible and Julie did not get married because the groom fled the church.  Later, he sent Julie a letter that explain that he was …. wait for it …. DYING!  Julie broke down into tears and the episode came to an end.

I mean, my God — who knew The Love Boat was so traumatic!?

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Moone Boy (Sunday Night, PBS)

Everyone was totally caught up in football (or soccer or whatever you want to call it)!  Even though the show was shot in 2013 and set in the 90s, it still felt incredibly relevant to today.

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The Office (Sunday, Comedy Central)

Sunday morning, I watched as Michael Scott quit his job, started his own paper company, and then successfully sold it, largely due to David Wallace really not being a very good CEO.  In retrospect, I think The Michael Scott Paper Company was probably the highpoint of The Office’s post-season 3 run.  The scene of Michael calling Prince Family Paper just to discover that he had helped to drive them out of business is horrifying, funny, and depressing, all at the same time!

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Open All Hours (Sunday Night, PBS)

Granville is getting closer and closer to snapping.  Arkwright has no idea.

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Upstart Crow (Sunday Night, PBS)

Finally!  Will finished Romeo and Juliet and Kate achieved her dream of appearing on stage, despite the fact that it was illegal for her to do so.  It was a sweet ending to the 2nd series of Upstart Crow and it almost makes up for the lack of Yes, Prime Minister on PBS’s current schedule.

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Music Video of the Day: Masquerade by Lindsey Stirling (2021, dir by Stephen Wayne Mallett and Lindsey Stirling)

Posted on by Lisa Marie Bowman

I’m always happy to share a new music video from Lindsey Stirling! In this one, we discover that Lindsey was a demanding taskmaster, even during the silent era.

The dancers are Addie Byers, Kailyn Rogers, Taylor Gagliano, and Jessica Richens.

Enjoy!

The TSL’s Grindhouse: Omega Doom (dir by Albert Pyun)

Posted on by Lisa Marie Bowman

Omega Doom!  What’s all that about?

Seriously, don’t ask me.  I just watched this Albert Pyun-directed, 1996 sci-fi epic and I’m stil a bit confused as to what exactly was actually going on in the movie.  This is a movie that opens with a totally blank screen and then, eventually, two red suns appear in the sky.  The film takes place in the future, at a time when humans have nearly wiped themselves out of existence through their endless wars and the planet is now controlled by robots and cyborgs.  Omega Doom (Rutger Hauer) was a cyborg programmed to kill humans until he got shot in the head.  Apparently, taking a bullet to his cranium changed Omega’s programming and now….

Well, that’s the thing, isn’t it?  It’s kind of hard to say what exactly it is that Omega does now.  We do know that he spends a lot of time walking around because there’s a lot of scenes of him doing just that.  Eventually, he stumbles upon the ruins of a town that is now controlled by two warring bands of robots.  Before you can say Yojimbo or even A Fistful of Dollars, Omega is playing both sides against each other and …. well, I don’t know what the preferred outcome here is.  What is Omega Doom’s motivation?  He’s not making any money out of it because robots don’t need money and it’s not like there’s anything left to buy.  And he doesn’t seem to be interested in ruling the town himself because it’s kind of a dead end of a town.  I mean, there’s dead bodies and robotic parts all over the place.  It’s suggested that he might be looking for a secret stash of weapons that can be used to either kill or protect the remaining humans but, at the same time, we don’t ever really see any remaining humans and there’s no reason why Omega would care enough about them to get caught up in a war between robots on their behalf.

So, don’t ask me what’s going on.  I guess it really doesn’t matter because it’s not like you watch a film like this for the plot.  You watch it for the action!  Unfortunately, there’s not a whole lot of action to be found.  There’s a lot of scenes of robots talking about various exciting things that they could, in theory, be doing but no one ever seems to actually get around to doing any of that stuff.  Instead, all of the robots stay in their separate sections of the town and wait for everyone else to make the first movie.  Eventually, Omega makes a few moves but, even then, they’re not particularly exiting moves.  Omega carries a gigantic sword on his back and how I anticipated seeing what he was going to finally do with that sword.  Well, it turns out that Omega didn’t do very much with it at all.

Actually, the main reason you’re going to want to watch Omega Doom is because Rutger Hauer plays the title role and Hauer was always cool, even when he was appearing in a less than memorable film.  In Omega Doom, Hauer does a passable Clint Eastwood impersonation, delivering his lines with just the right amount of weary condescension.  Though you’re never quite sure why Omega is doing anything, Rutger Hauer is always watchable.

And, to be honest, I actually didn’t dislike Omega Doom as much as it may sound like I did.  It’s a slow movie and not much happens but, at the same time, I did like the look of the bombed-out city and, though the dialogue was largely forgettable, there was still the occasional line that suggested that Omega Doom had existential ambition, albeit unrealized ones.  “God took a vacation,” Omega says at one point and, for a split second, you get a hint of what Omega Doom could have been if it had a bigger budget and a better script.  It’s a film that had potential and it’s somewhat fascinating to consider how little of that potential was realized.

Of course, in the end, it all comes down to this: How can you possibly resist Rutger Hauer as a cyborg?

Music Video of the Day: Future Shock by Marc Collin, feat. Clara Luciana (2019, dir by Marc Collin)

Posted on by Lisa Marie Bowman

Both this song and the scenes in the videos are taken from one of my favorite films of last year, The Shock of the Future. A tribute to the women who helped to create electronic music, The Shock of the Future is a rather inspiring film and it can currently be viewed on Tubi. So, go watch it!

But watch the music video first.

Enjoy!

The TSL’s Grindhouse: Live Like A Cop, Die Like A Man (dir by Ruggero Deodato)

Posted on by Lisa Marie Bowman

The 1976 film, Live Like A Cop Die Like A Man, takes place during the Christmas season.

We know this because the film opens with a man dressed like Santa Claus standing on a street corner in Rome and impotently watching as a woman is dragged behind a motorcycle by two men who were attempting to snatch her purse.  When she doesn’t let go of her purse, one of the men hops off the motorcycle and proceeds to kick her in the face until she stops moving.  Suddenly, two other men — our heroes, as it were — came driving up on a motorcycle of their own.  A chase ensues, through the streets of Rome, during which a blind man’s dog is graphically run over.  The chase which, it must be said, is very well-shot and directed, lasts for over 10 ten minutes and it ends with the two thieves being executed by, once again, our nominal heroes.

A lot of people are executed over the course of Live Like A Cop, Die Like A Man.  That’s because Detectives Fred (Marc Porel) and Tony (Ray Lovelock) have been given a license to kill anyone who breaks the law.  The film is a bit vague on just how exactly the license works and why, apparently, it’s only been given to Fred and Tony.  One major set piece features several dozen cops all waiting outside a house, powerless to get the three criminals within, until Fred and Tony arrive.  Fred and Tony, of course, solve the problem by killing everyone.  Why couldn’t the other cops have done that?  The film doesn’t really make that clear.

Admittedly, Fred and Tony aren’t the first movie cops to get results through unorthodox means.  The French Connection was a popular film in the 70s and it inspired a whole genre of Italian rip-offs, of which Live Like A Cop Die Like A Man is a definite example.  What sets Fred and Tony apart from cops like Popeye Doyle and Dirty Harry is the amount of joy that Fred and Tony seem to get out of killing people.  Early on, they show up at a party and proceed to set all of the cars on fire. They also set two criminals on fire, with Fred doing a happy little dance as the two men go up in flames.  It’s disturbing but there’s also a strange integrity to the film’s shameless embrace of violence.  Live Like A Cop, Die Like A Man doesn’t pretend to be about anything other than satisfying the vigilante fantasies of its audience.

And indeed, it should be considered that Live Like A Cop, Die Like A Man was released during the so-called Years of Lead, when a combination of political terrorism and open crime had made violence an almost daily part of Italian life.  When you’re living day-to-day with the knowledge that you could be blown up at any minute by the Red Brigade, the Ordine Nero, or the Mafia, I imagine that there would be something appealing about watching two young men who are perfectly willing to just shoot anyone who appears to be up to no-good.  It’s easy to imagine that, for audiences in 1976, the random violence of this episodic film mirrored the random violence of everyday life.  Though Live Like A Cop, Die Like A Man was obviously inspired by The French Connection, it perhaps has more in common with the original Death Wish, with the main difference being that Live Like A Cop’s vigilantes are officially sanctioned.

The film also places a good deal of importance on just how close Tony and Fred are supposed to be.  They live together in a ramshackle flat, they apparently spend all of their free time together, and, towards the end of the film, the only thing that keeps the two of them from taking part in a threesome is the sound of someone else being shot.  Unfortunately, Ray Lovelock and Marc Porel did not get along in real life and, as a result, there was never a Live Like A Cop Die Like A Man Part II.  Live Like A Cop would also be director Ruggero Deodato’s only stab at the polizieschi genre.  He went on, of course, to direct Cannibal Holocaust and The House on the Edge of the Park.  (Interestingly, Tony and Fred’s relationship is mirrored, to sinister effect, by the relationship between the characters played by David Hess and Giovanni Lombardo Radice in House On The Edge of the Park.)  Live Like A Cop, Die Like A Man has gone on to become a bit of a cult film and, as offensive as some will find it to be, it’s also so over-the-top in its violence and its celebration of officially sanctioned bad behavior that it becomes rather fascinating to watch.  It’s so without shame or apology that it’s hard to look away from it, even though you may want to.