Der Bulle von Paris

Just when you thought Gérard Depardieu couldn't get any sexier, he made Police. Ladies, if you want to see him as a tough-talking cop, you've got to rent this movie.

This isn't your typical cop flick. It's not loaded with action scenes, it's not particularly gritty, and it's not a comedy about two unlikely partners finding a lasting friendship as they bicker and solve an impossible case. This is just a day-in-the-life movie about cops trying to bust drug-dealers. They have to slog through uncooperative witnesses, red tape, clues that don't lead anywhere, and a moral line that they can't cross but sometimes do. Sophie Marceau is the leading lady, a bad girl who only thinks of herself. She's cute as a button, though, so even though he knows she's bad news, Gérard can't ignore the attraction he feels for her. Check this one out if you're in the mood for a French flick from the '80s with two cutie-pies as the leads.

Maurice Pialat's Police is a moody, gritty French noir. The film stars Gérard Depardieu as Mangin a rough, no-nonsense police detective, that during the process of trying to bust a Tunisian drug ring falls for a mysterious alluring woman (Sophie Marceau) whose linked heavily with the gang. Maurice Pialat directs this film with his usual stoic motifs, and just like The Mouth Agape it works for this film. The tone is excellent thanks to the use of classic noir elements. The main issue I had with the film, is that that it wasn't concise about what it wanted to achieve, whether that's to be a straight police procedural or a character piece/love story, in the end it becomes a melting pot of different ideas.

Another problem I had with this film was it came across too passive, there was no punch to the story, everything just happens with low energy. The pacing left a-lot to be desired, most of Pialat's work is finely paced, but in a film like this which is more focused on plot it needed to be a bit quicker. There were large portions of the film where I found myself becoming disinterested in what was happening on screen.

This is the weakest film I've seen from Pialat so far. What saves the film from being flat-out boring is Gérard Depardieu's excellent performance. He carries the film by being constantly interesting and engaging. He's also a fantastic conduit for other performers as his energetic screen presence bounces off all the actors in the film. Most notably is his terrific chemistry with Sophie Marceau together they really keep the film alive when it starts to become contrived and uninteresting.

This is the weakest film I've seen from Mubi's retrospective look at Pialat's filmography, which is disappointing because I've enjoyed the majority of his films. In summery Police is a missed opportunity, it's an average crime drama that's boosted by two strong central performances. Police is the last film from Pialat's mostly stellar filmography that I would recommend.

Maurice Pialat's POLICE begins with an extensive interrogation by a cop... played by Gerard Depardieu. The shots almost exclusively flick back and forth in medium shot. To begin with, the criminal is defiant. But over the course of almost 10 minutes, he's slowly broken down into a confession. It's a fascinating scene to watch... and although it's not recreated directly throughout the rest of the movie (10 minute scenes with two shots would get tiresome quickly...), the mood of the opening scene permeates through the whole of POLICE. The movie is a slow breakdown of the facade people build around themselves.

Much of the dialogue seems improvised. Characters stumble over words, and get caught in seemingly unrelated conversations. The "Masters of Cinema" extras DVD catches Pialat berating actors on set... trying to pull something out of the improvisation. He was apparently a real pain to work for, but the end result seems to work in POLICE.

Depardieu is the centre of attention, playing the slightly shonky cop, Louis. He's hulking in size, 6ft tall and a pretty wide load, often towering over the bad guys and dwarfing the various girls he flirts with. At times, Louis is almost comedic, grabbing every ass around him. He thinks he's a whizz with the ladies and the greatest cop around... and because he throws his weight into it all, people believe him.

The depth of POLICE is we see Louis behind the charade, progressively doubting himself. He's falling in love with one of his suspects, Noria (played by Sophie Marceau, who ended up sinking into being a Bond girl in THE WORLD IS NOT ENOUGH) and it's eating away at him. He's bending more rules than ever, and getting unnecessarily interested in a girl whose own family don't trust her. Louis becomes frantic, reaching out for prostitutes, drink and - eventually - frantically humping Noria in the Police HQ.

The strength of the movie - and whether you'll like it or not - revolves around Louis. He's very irritating at the start of the movie... a letch, an idiot, someone searching for reactions from people. He's sleazy and seemingly irremediable. Yet, at the movie goes on and as his vulnerabilities creep through, he becomes strangely likable. Can he trust Noria? Is she leading him on to save herself, or is she as lost as he is? So many films have predictable relationships but this one is a good 'un. We neither trust Noria or Louis, yet we feel sympathetic towards both of them. This all leads to a real doozy of an ending - and a thought provoking one too.

POLICE isn't a quick watch. It lacks dynamic scenes, and it's only for those who can take constant dialogue. It's also not a movie laden with style. But when close-ups are used, they're used to great effect. Louis's confused big-nosed mug... Noria's seemingly flawless good looks... something's going on behind those surfaces. You may gripe at the movie needing to be shorter and tighter, but it'll leave an impact because of these two fascinating characters. And, for that reason, it's well worth getting hold of a copy of POLICE.

You know "Police" isn't going to be a conventional policier simply because it's directed by Maurice Pialat and Pialat doesn't do conventional. Yes, there's a 'thriller' plot involving drug dealers but the plot is secondary to the way both the police and the criminals are seen to go about their business which in many ways is much the same, (a crooked lawyer, nicely played by Richard Anconina, moves between them with seemingly consummate ease).

The central character is Gerard Depardieu's charming, brutalizing inspector who thinks nothing of beating up suspects to get a confession and both he and the film may remind you of Kirk Douglas in "Detective Story" and it's a beautiful piece of acting. Equally good, as the drug dealer's girl that Depardieu falls for, is Sophie Marceau. Ultimately the 'thriller' plot is all but jettisoned as Pialat digs deeper into the lives and backgrounds of his characters which is just as well as the plot becomes both very complicated and a little ridiculous. Still, this is a Pialat picture; mean, melancholy and fiercely intelligent.

French director Maurice Pialat mixes his usual approach of dialogue- heavy improvisation and his own slightly twisted sense of 'realism' with the police procedural genre. Anchoring Police is the formidable Gerard Depardieu playing Inspector Mangin, a chunky pitbull of a man who mixes charm, playfulness and violence together as he plays his way through the crime-fighting game with equal amounts of efficiency and carelessness. Pialat's camera, loose and restless, seems fascinated by him, and Depardieu's performance devours the film, overshadowing the director's themes of loneliness and criminality in France.

The first two-thirds of Police are it's best, as Mangin is caught up investigating a bunch of Tunisian drug-dealing criminals, and has his eye caught by the doe-eyed and beautiful Noria (Sophie Marceau), the girlfriend of one of the chief suspects. It's in these early scenes that Mangin is off the leash, slamming suspects heads into tables as a manner of interrogation, and, outside of work, joking with his friend Lambert (Richard Anconina), the criminal lawyer for most of the scumbags that Mangin puts away. Lambert is good at what he does, and most of his clients get off, yet he and Mangin laugh and joke about the system. It's all just a game to Mangin, something for him to do in order to satisfy his many appetites, as the line between the police and criminals is blurred.

Then Police settles down somewhat, as Noria turns from frightened innocent to fully-fledged femme fatale. She gets herself involved in a stolen wad of cash, and suddenly no-one is safe. Mangin is slowly revealed to be a lonely widower, and the film loses it's momentum. The fast dialogue and the murky world of pushers, pimps and prostitutes fades in favour of long takes in empty rooms, and Mangin suddenly isn't as interesting as he was. Sometimes it's better to prolong the mystery, to keep a character's motivations skewed. But Police is still a great ride, featuring one of Depardieu's best ever performances.

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