Peur sur la ville

Jean Paul Belmondo and his associate, Charles Denner, play tough cops after two killers in "Fear Over the City." Although not listed in the credits, the city of Paris plays a major supporting role. One killer, Marcucci, is a bank robber Belmondo's character is after for killing a fellow cop during an auto chase. At one point later in the picture, Belmondo is on the roof of a Paris Metro car above ground as it goes though Paris, with the cop killer inside the train. The viewer gets a chance to see the city sights as the train zips along.

The second killer, who uses the name "Minos," wants to rid the world of sexual immorality by targeting women he finds objectionable. Belmondo gets into a gunfight with Minos while on the sloping roof of a store, apparently the Galleries Lafayette. Director Verneuil does a great job of adding thrills as Belmondo slips on the sloping roof several times, almost falling off, all the while shooting it out with Minos. The pursuit of Minos after the roof fight leads to a chase through Paris, past the Eiffel Tower and through downtown streets, Belmondo's police car after Minos, on a motorcycle.

In this movie Belmondo gets a chance to play a real tough cop, one who shoots back at a suspect, hitting him, and then ignores him as he asks for an ambulance. Instead, Belmondo takes a break, reading a magazine in the wounded man's apartment until the guy talks. There is that scene in the basement of a bar, where 38 illegal aliens from Mali rent space from the bar owner. 1975 and this movie shows illegals forced to live in double or triple bunk beds in a storage basement. Belmondo's bell bottom pants have dated, but not that basement scene nor the professionalism the cast and crew bring to this movie.

"Fear Over The City" is one of those films that invented what later became known as the clichés of the "serial-killer thriller" subgenre. It's all here: the mad killer who fancies himself a moral avenger, the "Freudian" explanations of his behavior, the threatening phone calls to the potential victims and the taunting ones to the police, the hostage situation at the end, etc. The structure of the film is almost experimental, with a chase sequence in the middle that goes on for about 30 minutes, and an entire subplot (about a bank robber who killed Belmondo's previous partner) that is little more than a mere distraction. Belmondo is good as the cynical, hard-as-nails cop, and yes, he does perform some stunts in this movie that are worthy of Jackie Chan at his finest. He has some great moments of black humor, too ("his heart really IS bleeding!") (**1/2)

A nice polar movie that makes us follow the murders committed by a serial killer and, first and foremost, of a "no-brain-all-muscles" cop, played by Belmondo. As this is a French movie, of course, the cop is not just plain (nor Eastwood style, nor Willis style) and comes with comedy and some parody. But we do have a good set of action scenes, with a memorable one on the roofs of Paris.

The score, chiseled as all other Ennio Morricone's work, is the finishing touch that involves us in the ride!

Oh, how I love the raw and gritty 70's action cinema! Most of it was all about rude and extremely unorthodox macho police detectives hunting down utterly deranged psychopaths that leave a trail of terror and bloodshed throughout the most major cities of our world. The US delivered a couple of brilliant milestones in the genre (like "Dirty Harry" and "The French Connection"), Italy is probably world record holder with all their masterful "Poliziotteschi" classics, and also France proudly owns a handful of goodies. Henri Verneuil's "Peur sur la Ville" is a prototypic 70's cop thriller, and this definition basically translates into: high adrenalin action from start to finish, straightforward but tense plot lines, cool cops, nightmarish criminals, sharp dialogs, pitch-black humor and an awesome soundtrack! J-P Belmondo is absolutely terrific as the dry and sarcastic Commissioner Letellier, charged with the case of a misogynic killer who menaces his victims via the phone prior to actually strangling them. Letellier is initially quite reluctant to lead the investigation, as he's too preoccupied with catching the bank robber that killed his previous partner, but then manages to conjoin the two man hunts. The killer, who baptized himself Minos, is a delightful lunatic with one creepy-looking glass eye and a rather peculiar opinion on femininity. "Peur sur la Ville" features many recurring highlights, like the many sardonic interactions between Commissioner Letellier and his partner Moissac, but of course the most obvious aspect to worship here is the action. Belmondo literally bounces around Paris, from the rooftops of apartment buildings to all the way down in the subway network. One particular chase sequence lasts for nearly twenty minutes and includes both of Letellier's suspect targets. Making it all even more impressive is the fact that J-P Belmondo performed his own stunts. Gazing at some of the set pieces, I can assure you that he repeatedly must have risked his neck throughout this production. Nearly forty years later now, films like "Peur sur la Ville" may indeed come across as somewhat dated and overly clichéd, but it's still tremendously exhilarating and entertaining. Besides, back then those clichés weren't clichés just yet. It's just indescribably charming and fun to watch car-chases featuring those typical light European automobiles making random casualties left, right and center. The climax is tense, albeit a bit tedious and overly stretched, and you won't notice for a second that this is actually quite long for an action/thriller (+120min). Last but definitely not least, the always reliable Ennio Morricone delivers a dazzling soundtrack as well. Hearing his eerie tones during the opening credits, and you just know you're about to witness an overall excellent movie.

This movie was a replacement in France. It marks the entry of a new criminal type(Minos) in a scenery unprecedented(the cold tower).The introduction is very efficient,a woman alone in her apartment,harass by the voice of Minos. Commissaire Letellier will be change his méthods for catch Minos. The opposition between the old-fashion criminal(Marcucci) and the modern(minos) is the symbol of a new area. The stunts are incredible(belmondo=keaton and Jackie Chan)specially the chase on the subway.The Veber's dialogues are very punchy. 8/10