Non il migliore dei suoi film, ma c'è una lunga lista di blasonati registi che un debutto così se lo sono solo sognato. Nonostante sia inerme vittima di numerosi clichè e dialoghi spesso piatti, Violent Cop è una convincente prova a livello di regia e cura della fotografia, soprattutto negli ultimi 20 minuti, quando la porta del magazzino regala un gioco di luce sublime. La nascita di un mito.
VIOLENT COP remains a stunning debut feature. It must have genuinely stunned, being as it is a fierce and destabilizing portrait of cold and cruel gangland warfare, as good as if not better than anything by Kinji Fukasaku (who was originally meant to direct it), directed by an ever-present comedian and TV personality. And of course it is funny, gleefully so (if nonetheless resolutely deadpan). A master arrives.
Hermosa en su condición de violencia pura. Takeshi hace aquí un placer de ser director y actor a la vez, de ser verdugo y víctima. Más allá de ser una historia simple, se plantean problemas éticos reales, problemas que se articulan bajo una fotografía, preciosas tomas largas y una acción de corte fino.
Un polar brut de décoffrage...Une première œuvre assez mineure pour Kitano, qui veut tellement mettre en avant son amoralisme et son cynisme qu'elle tombe souvent dans l'excès et la caricature. Kitano n'avait pas encore trouvé son "ton". Par ailleurs, le montage m'a à plusieurs reprises semblé bien maladroit. Dispensable.
Awesome music and skillful dircetion from first timer Takeshi Kitano, who also plays the lead, a brutal detective who isn't really much of an anti-hero, but just a straight up bastard. The film sort of justifies his actions at first, even if he's a bit out of order, but in the end violence leads only to more violence. The ending was disappointing, and the relationship with his sister could've been more developed.
The chase scene is one of the most perfectly scored scenes I've ever had the pleasure of watching.It's also one of the most memorable. The anti-climactic chase on foot, the abortive and seemingly hopeless twists and turns of the chase in the car, and the explosively brutal and fatally brief outbursts of violence on either end of the chase proper give the whole scene an air of dreamy nonchalance cut through by menace.
Kitano's first work is a mindblowing study into the nurture of violence, in it's mechanisms, it's social context and it's reproduction. With a more than almost deterministic chain of cause&effect Kitano pushes us down the road, constantly showing recripocal, structural character of violence. There is no crime movie, no riddles, just violence - and a masterpiece of perspective.
Kitano's first is not as developed, yet has quirks in terms of style and the usual dark humor. It's also scattershot in flair, ultimately seeming routine in terms of plot and non-affecting in terms of story. Kitano often communicates emotion sans dialogue, but when the camera lingers on him in this one he seems more robotic, rather than a tortured soul. The flippantly violent and bleak finale is memorable, though.
What starts as a black comedy police flick progresses into a story about two inhumanly bloodthirsty lunatics hell-bent on burning the world down around the other. Mean as hell, almost comically cynical. A Jim Thompson-style morality play from the 1980s that couldn't have come from anywhere but Japan.