LIVE LIKE A COP DIE LIKE A MAN (1976) BY RUGGERO DEODATO

Reviews

Alternative Titles: Uomini si nasce poliziotto so muore; Brigada anticrimen; Het recht in eigenhand; The Terminators
Director: Ruggero Deodato
Writer: Fernando Di Leo
Year: 1976
Starring: Marc Porel, Ray Lovelock, Adolfo Celi, Franco Citti, Silvia Dionisio

Synopsis:
Fred and Tony are members of an elite ‘special squad’ of undercover police in Rome, Italy which thrive on living dangerously with their license-to-kill.

Review:
LIVE LIKE A COP, DIE LIKE A MAN comes from a story by Alberto Marras (MEET HIM AND DIE), Vincenzo Salviani (THE DEVILS HONEY) and genre legend Fernando Di Leo (MILANO CALIBRO 9; THE BOSS) while it is directed by the notorious Ruggero Deodato (CANNIBAL HOLOCAUST; CUT AND RUN; PHANTOM OF DEATH; THE WASHING MACHINE) so for any first time viewer it is understandable that expectations are high for this quasi-buddy cop movie.

Therefore it is almost an anti-climax when it starts with a subdued opening as Fred (Marc Porel – DON’T TORTURE A DUCKLING; THE PSYCHIC; THE SISTER OF URSULA) and Tony (Ray Lovelock – OASIS OF FEAR; THE LIVING DEAD AT THE MANCHESTER MORGUE; VIOLENT ROME; MURDER ROCK) cruise the streets together sharing one motorcycle while a song that could be on almost any light drama plays through. Interestingly it was star Ray Lovelock singing this track, titled Maggie. These opening minutes of LIVE LIKE A COP, DIE LIKE A MAN are certainly quite misleading but do serve to mark out the relationship between our two leads as intimate with their emotional bond represented by their literal physical proximity.

As the song plays out, it overtaken by the roar of the bike engine and the action begins; a handbag is snatched by a couple of thieves on a motorbike…well almost as the poor female victim had just left the bank and had her bag handcuffed to herself for security with the result being a botched and brutal robbery attempt. These sorts of crimes are presented as a common occurrence in Italian crime films of the decade, and certainly the country struggled with criminal violence throughout this period – rather worryingly motorcycle led crime is seemingly resurgent in cities such as London now due to the flexibility and quick getaway opportunities the smaller vehicles provide.

Rather unfortunately for our young thugs all of this action takes place right in front of Fred and Tony, still yet not identified to the viewer as law enforcement, leading to a ridiculous wheelie, the commandeering of a(nother) motorcycle – after all our heroes cannot share one for a chase can they – and the start of what can only described as a frantic, exhilarating chase complete with quick cuts, POV shots and tight editing.

In fact with something this good you almost don’t want it to end and seemingly neither did director Ruggero Deodato as the sequence becomes almost all encompassing showing us not just the successful weaving in-and-out of traffic but also an error or two, in one case resulting in the patio of a café getting trashed. By the end of this sequence the focus has shifted away from the criminals’ behaviour and become more about the amoral attitude of our supposed law enforcement, something that is tackled verbally by the Police Captain later, who seems unconcerned about the lack of due process. In his mind seemingly the unquestionable authority of the law and the resultant actions are clearly necessary so that wider society can flourish.

While most of the brutal justice at the hands of a lead characters in Poliziotteschi are due to them being failed by the legal system and their superiors (pretty much any Maurizio Merli character for instance falls into this group) here our officers methods are actually condoned by their superiors if not necessarily endorsed although admittedly this tolerance is pushed to the limit. Even so it makes for a rather unsettling situation especially in comparison to films such as THE CONFORMIST by Bernardo Bertolucci and INVESTIGATION OF A CITIZEN ABOVE SUSPICION by Elio Petri earlier in the decade that show that what civil repression and unchecked power can do when exploited and abused by those in authority.

As LIVE LIKE A COP, DIE LIKE A MAN plays out however this would be just one aspect of Fred and Marc’s character traits that are certainly at odds with ideas of freedom, equality and due process. With these films from a bygone era it is easy to either view attitudes from a modern rather than contemporary perspective but similarly it is easy to dismiss clearly unacceptable behaviour as being simply how things were.

The argument that it was a different time and therefore cannot be judged by today’s standards is one to take note of but in more recent times it has been bandied around in relation to reports often of a sexual nature and this clearly is relevant here through the sexist and misogynistic attitude displayed by our anti-heroes.

Admittedly there is an argument in one case for the complicity of the female police secretary – although this then may lead to an off-topic discussion of implications and fear of speaking out – as they frequently beg her for sexual gratification only to be repeatedly knocked back through humour and intelligence as she proves more than a match for their advances. The same cannot be said for the sister of one of the criminals in the film, a nymphomaniac, who undergoes a rather inappropriate form of questioning…twice, later in the film.

However this opinion that we are forming of Fred and Marc is once more further complicated through the closeness of their bond and level of comfort with each other. This element lead Roberto Curti when writing in his book Italian Crime Filmography, 1968-1980 to state that “their misogynist attitude suggests a subterranean homosexual complicity” and this is certainly an opinion I subscribe to, at least to a certain extent.

Their overtly macho posturing and attitude is betrayed by their bond of brotherhood although whether this is sexual, which I would argue not, there is a case to be made for it on an emotional level blurring the lines in how far this platonic love goes.

As a viewer we quickly come to the realisation that Fred and Tony are arrogant and semi-obnoxious, while it is hard to tell if they mean well or get a kick out of their legalised macho bullshit, although from the dialogue in the film it does seem the latter. But when their colleague is gunned down outside of their office, complete with a death fall that has to be in contention for the world’s slowest, they have an added impetus to hate crime and rack up the bodies with this pivotal event helping provide the catalyst for the remaining story.

LIVE LIKE A COP, DIE LIKE A MAN is structured like so many other eurocrime films, with an underlying story arc complete with a big boss being broken up by several minor or unrelated crimes in order to build context, character, and help drive the narrative forward through action set pieces in order to maintain attention and keep focus – some of these set pieces however are delightfully over the top and exactly what you want to see in a film of this type

One thing that helps place the film in the upper echelons of the genre however is its use of clever story direction as LIVE LIKE A COP, DIE LIKE A MAN is able to subtly shift tone and feel, with for example one sequence playing out more like a heist movie yet the holistic overall feel of the film remains consistent and coherent, never once breaking the viewers belief in the world or disrupting the flow allowing for an enjoyable and often entertaining experience.

However for whatever reason the film does seem to run out of steam towards the end and while still providing a competent ending it does appear somewhat flat compared to several earlier moments.

Essentially a brutal and amoral Italian Starsky & Hutch, LIVE LIKE A COP, DIE LIKE A MAN is a decent watch and a strong entry in the genre thanks to the  hugh level of skill of all those involved both in the cast and crew. It does not shy away from character flaws, for better or worse, and interjects some genuine humour into the film allowing it to keep the viewers’ attention without the need for constant violence.

Despite all these positives it is a shame that all of the women, with the exception of Silvia Dionisio come across either as victims of violence or morally corrupt but perhaps that is the point as very few paragons of virtue exist even on the male side with those who do not indulge in excessive behaviour often complicit in enabling it.

Through researching this film it was noted that there was due to be a sequel however due to personal differences between Marc Porel and Ray Lovelock this never really got going. If this was the sole reason then it certainly would have been interesting had Al Cliver, who had just finished working on Ruggero Deodato’s WAVE OF LUST (1975), got the gig as originally mooted.

Version Reviewed:
I reviewed this off of the 88 Films blu-ray release which offers English language audio as well as Italian language with English subtitles. Extras include a trailer and stills gallery along with the now expected reversible sleeve and a neat little poster artcard.

THE WASHING MACHINE (1993) BY RUGGERO DEODATO

Reviews

Alternative Titles: Vortice mortale
Director:  Ruggero Deodato
Writer: Luigi Spagnol
Year: 1993
Starring: Philippe Caroit, Ilaria Borrelli, Katarzyna Figura, Barbara Ricci

Synopsis:
A police detective investigates the murder of a man found dismembered in a washing machine and is drawn into a web of deceit and murder by the dead man’s lover, Vida, and her two sisters, Sissy and Ludmilla.

Review:
Many will be intrigued by this giallo not just for the peculiar name but also because it is directed by the infamous Ruggero Deodato (CANNIBAL HOLOCAUST, HOUSE ON THE EDGE OF THE PARK), a director who is not widely known for his gialli despite this film, PHANTOM OF DEATH and DIAL: HELP all falling loosely into the genre. 

Coming two decades after the golden period of giallo, it is unsurprising that this effort is more influenced by the sexual sleaze that infested the sub-genre in the late eighties as THE WASHING MACHINE delivers a trashy, twisted and bizarre tale of love, jealousy and murder which is as high on (simulated) eroticism as it is suspense.

Set in Budapest, the film begins as it intends to continue, with a sexualised argument between wannabe playboy Yuri and his girlfriend Vida. Thinks however take an almost sinister edge as their kissing is spied on by one of Vida’s sisters while later on a third sister joins them to see Yuri out of the apartment. 

After this argument and make-up everything appears fine. That is until in the night one of the sisters, Ludmilla is awoken by a noise and while investigating discovers Yuri’s dismembered body in the washing machine…which would then disappear somehow before the police arrive.

Enter the blue-eyed and not of sound mind Inspector Stacev who seeks to pump the three sisters for information as to not only where the body lies but if there in fact was even a murder. Matters become complicated as the sisters each spin (pun intended) a different tale to the inspector, while seducing him with their charms, sending the Inspector into a downward spiral of obsession and lust as he seeks to discover what truly happened that night.

During the course of the police investigations by Stacev and his suspicious yet diligent subordinate Nikolai we are introduced, if only very briefly, to several potential subplots such as a suitcase full of money and jewels; currency money laundering and even S&M all of which might be relevant to plot or not but at a loose push all could fit in with elements but I feel that might be stretching the level of complexity that this film possesses. Interestingly, after the S&M revelation a character commits suicide (off-screen) and then that whole plot thread appears to be dropped as quickly as it was introduced and so we ask the question was this part of a wider story removed from the final cut or merely substance behind one of the characters motivations?

In THE WASHING MACHINE Deodato has crafted a highly sexualised giallo but one where the mystery is still quite strong, and it is because of this that the film works as you are intrigued as to what is actually happening as you start to doubt if what you are seeing is even real as represented by the lack of a body. This is supplemented by the additional element of the Inspectors mental instability which Deodato represents both in his loss of objective and professional rationalisation and also with the way that the (editing) shots are put together.

One of the films strengths is that it does not try to emulate a bygone era but rather plays with the conventions within a contemporary lurid framework, as it interlinks eroticism and mystery together with a playful nod to the tropes of the genre where the viewer will expect one thing but be suddenly given another. Meanwhile Deodato never misses a trick to mislead with this climaxing with a fake ending but the timing of this would indicate that there was more to come.

It is also worth noting is the excellent score by Claudio Simonetti, which not only helps to heighten the mood of the scenes but also lends the film that ‘Italian’ feeling which could have so easily become lost due to the Euro-pudding cast and eastern European location.

Ultimately THE WASHING MACHINE is a bizarre and sleazy yet somewhat fun film with a fantastically crafted mystery at its heart. But one that sadly almost seems to play in the background in order to make way for the almost hallucinogenic nightmare of sex and deceit. Featuring more twists and turns than a curly-wurly, Ruggero Deodato packs the film with multiple red herrings and knowing nods to successfully bring things together for a fitting finale but one which unfortunately still leaves many elements unanswered.

Despite being one of the best of the time period (it did not have much competition) this is one for trash and gialli aficionados only, but if that last term described you then you won’t be disappointed with the feast of flesh that THE WASHING MACHINE provides.

Oh and pay attention, as with many directors working in the genre, Ruggero Deodato gives himself a little cameo appearing as a neighbour to the inspector.

THE MAN WITH MY NAME (2017) BY SIMON O’NEILL

Reviews

AKA: L’uomo con il mio nome
Director:  Simon O’Neill
Writer: Simon O’Neill
Year: 2017
Starring: Simon O’Neill, Ruggero Deodato, Luigi Cozzi, Catriona MacColl

Synopsis:
Irish writer/director Simon O’Neill investigates the career of the only Simon O’Neill more popular than him on the IMDB – who just so happens to be the Italian scriptwriter Giovanni Simonelli.

Review:
After a brief introduction on who he is (he’s Simon O’Neill) and who the other Simon O’Neil’s are on IMDB we get started with a whistle-stop tour of some of the career highlights from Italian scriptwriter Giovanni Simonelli aka Simon O’Neill.

This straightforward opening sets out the premise quite clearly, instantly drawing loose comparisons to the British TV series ‘ARE YOU DAVE GORMAN?’, but although THE MAN WITH MY NAME is centred around this novel concept it is certainly not limited to it.

With the purpose of this documentary now explained we take to the road in a bid to hunt down more information on Simonelli, beginning in the most unlikely of places – Luton!

Here Simon meets a talkative Ruggero Deodato and they discuss not only the translation of an Irish name but also the use of pseudonyms in the Italian industry during the sixties and seventies. This is an area we all know a bit about but in my opinion is never discussed enough, and so it is a pleasant surprise that this topic forms a significant part of the documentary as Catriona MacColl, Luigi Cozzi and (archive footage of) Antonio Margheriti, a frequent collaborator of Giovanni Simonelli, all go on to discuss the necessity of changing one’s name in order to boost the chances of success, be it with English-speaking audiences or even Italian.

On an unrelated note, one thing that does come across during the discussion with Luigi Cozzi, is how alive he becomes when talking about film and the industry. As always he is captivating and so easy to listen to, cementing his place as one of the sweetest guys in horror and sci-fi.

Back to the documentary and at this point it is in danger of being sidetracked away from the actual premise but through a Simonelli related story, Cozzi brings things full circle and we are back on track.

Lead first by some archive footage of the man himself, the late Giovanni Simonelli, we are soon joined by his son who seems genuinely surprised and curious that a random Irish man was making a short film about his father.

Although clearly shot on a very low budget, THE MAN WITH MY NAME works not just on an endearing labour of love level but because, no doubt thanks to Simon O’Neill’s professional experience, it provides a tightly edited and terrifically structured look at both an unsung member of the Italian b-movie scene and also the nuances of working in the fringes of Italian cinema as the brief running time touches on additional topics such as the anglicising of names and the disdain of native audiences for the work of their own countrymen. It is also refreshing for once to not have the subject as a Dario Argento or a Lucio Fulci, but rather someone who perhaps is not well known even though their films are.

A celebration of Italian b-movies and those who helped bring them to us, THE MAN WITH MY NAME is light-hearted, fun and guaranteed to put a smile on the faces of fans of Italian genre cinema. Admittedly for some this may come across as too lightweight, but it was never meant to be a detailed analysis and should not be judged as such.

Sure if it had bigger budget then it would look more polished and ok it could have featured more clips and longer interviews but that is not what this is necessarily about nor is it really in the spirit of what I believe Simon O’Neill set out to achieve.

The Man with My Name is currently on the festival circuit. Find out more information on the official website.

Version reviewed:

An online screener of the film.