Commentaires des utilisateurs

This was the first attempt to mix social comment and action in a Swedish movie. Bo Widerberg had previously tried, successfully, the social comment. This time he tried action for the first time. And without a doubt he succeeded.

It's about police brutality and a victims attempt to seek revenge. The only trouble is that he doesn't think it's enough to kill the police who was the cause of his anger, but he tries to kill every policeman that comes in sight.

It shows the routines in police-work, as well as fabulous action sequences. The camera-work is brilliant. Notice the sequence when the camera moves backwards with enormous speed in front of the policemen running down the stairs at the subway-station. Steady-cam wasn't invented yet.

Brilliant acting galore. Carl-Gustaf Lindstedt playing the Martin Beck part, was really a comedian, not a serious actor. He did a great job, especially in the balcony scene, which was a very painful experience for him.

If you don't like looking at blood, close your eyes when the curtain opens in the first scene of the film.

This is director Widerberg's widely acclaimed first action film, based on a crime story by famous Swedish writers Sjowall/Wahloo. It's a complex story, involving both the frantic efforts to stop a man from shooting people from a roof top, and the bit by bit revelations of why he's doing it.

Widerberg could make movies, in this and other genres, and this time he was praised for accomplishing what many regarded as the first Swedish action film, which did not look like high school work, even in an international comparison.

A lot of effort was put into it, involving large parts of Stockholm city at the time, and countless citizens volunteering as extras. It got to be much larger than the movie team had anticipated, but Widerberg managed to be creative about that chaotic situation, giving the film a sense of documentary, of not being fiction at all. Of course that heightened the suspense, and made its social message more urgent.

The popularity which crime fiction writers namely Stieg Larsson and Håkan Nesser enjoy in current times has enabled book readers to consider Sweden from a different perspective.Their books allow people to be able to imagine that despite an excellent welfare state Sweden has a lot of social problems.In the past,criminal tendencies in Sweden were described in gory details by writers Maj Sjöwall and Per Wahlöö.It is their writings which form the back drop of Swedish film 'Man on the roof'.For a national cinema closely associated with Bergman's dark dramas,'Mannen På Taket' presents a completely different facet of Swedish cinema.It is a thriller which spoke about corrupt policemen hell bent on giving a bad name to their police force.Bo Widerberg gives equal attention to drama as well as thriller elements.The result is an intelligent thriller which enables its viewers to ascertain why some policemen are able to cross lines which are supposed to be judged by them.Admirers of action cinema need to be reminded that their theme makes its appearance in the second half of the film as the first half has been reserved for the through investigation of a brutal murder.

Uncharacteristicly excellent crafted action film that takes a frank look at the horrors of Police corruption. Well thought out story with terrific action set pieces. A fine example of Swedish filmmaking in the 1970s. Its about an investigation into the murder of a high ranking Policeman who is found out was corrupt and sadistic. The murder sequence at the beginning is brutal and gory. Done with good scenes of Police procedural by Bo Widerberg.

Mannen Pa Taket/The Man on the Roof(1976) has something which many high Hollywood films of today do not have and that is brains. Carl Gustaf Lindstedt gives a fine performance as DT. Martin Beck. The climax is nail biting and realistic. The last act of Mannen Pa Taket(1976) also has its share of humor. The scenes involving a sniper in the final act might have influenced a similar scene in the opening moments of God Told Me To(1977). The Man on the Roof(1976) is a neglected action classic that should find its way on DVD someday.

Police lieutenant Nyman is murdered in his hospital bed and Martin Beck and his colleagues have another murder to solve. They discover that Nyman was a very tough policeman who received several complaints about his methods.

The film is based on the novel "The Abominable Man" (1971) by Maj Sjöwall and Per Wahlöö, though it was actually a book in the middle of a popular detective series rather than the first. Along with the book, director Bo Widerberg was inspired by William Friedkin's film "The French Connection" (1971).

Widerberg has interestingly contrasted himself with the godfather of Swedish cinema, Ingmar Bergman, noting, "Neither I nor my friends saw very much in him. We didn't find the issue of God's existence that damned important. But it's safe to say you'd be putting yourself in a bad position if you're trying to slit the throat of the father figure before your own debut." Around 750,000 people attended the film in Sweden, making it the most successful film produced by the Swedish Film Institute until Fanny and Alexander was released in 1982. The film was selected as the Swedish entry for the Best Foreign Language Film at the 50th Academy Awards, but was not accepted as a nominee. A shame, because this film is great and way ahead of its time. The movie looks as good as any movie today (2017).

Wow! I wasn't expecting this - a sober, detailed, semi-documentary study of police investigation and tactics from, of all people, Bo Widerberg?!

I am astonished to say that this is a remarkably realistic and believable film and, as another viewer suggested, should be viewed by current filmakers as a prime reference for how films in this genre can be successfully approached. This truly ranks with the best American crime/police films of the 70's (and soars above all their pale French imitations), though it may lack the visceral impact of DIRTY HARRY or a character as indelible as Popeye Doyle. But character development is not really the film's focus; it is getting the details right - which it does - of the methodical police investigation of a murder and then their forced tactical response to a sniper. In doing this Widerberg and co. avoid a number of cliches and dramatic pitfalls that have plagued other films and television dramas working this turf over the last 40 years. These include cowboy heroics by "rogue" cops, an over-reliance on police jargon (that supposedly lets us know we are "inside the world" of police work), allowing interpersonal melodramas between characters to blur the focus of the story (i.e. catching the criminal), and, of course, the now ritual abuse of explosions, car chases, and machine-gun editing (to supposedly heighten our excitement). There are also no cartoonish twisted-genius serial killers masterminding absurd plot twists. Here the killer is as unspectacular, and as understandable (although we never meet him) as the men pursuing him. It is also remarkable how characters casually enter into the film as they enter the investigation - no one emerges as THE hero - everyone just does his job. And Widerberg is so effective at focusing us on the quiet, "routine" details of how the case develops that when violence erupts in the later part of the film it is truly startling. The scenes of panicking crowds have an unsettling documentary feel. The police response to this threat is, again, restrained, unspectacular (all right the helicopter attack may be pushing it a bit) and intensely dramatic for just that reason (no bells or whistles required). When the criminal is finally stopped it is almost anti-climatic (no drawn-out battles to the death, no swelling music) and this is as it should be for the world remains the same, evil still exists, and the job goes on. Can't wait to see MAN FROM MALLORCA. 9 out of 10.

Any fan of the "Martin Beck" book series would enjoy this movie. It is a pretty good adaptation of the book "The Abominable Man" and it is a very entertaining movie. I saw it in the late '70's and I wish I could find it in video stores to watch again. If you hated "The Laughing Policeman" movie but saw it anyway since it was about Martin Beck you'll love this movie.

This film is still, 25 years later, probably one of the best action films ever made in Sweden. The almost documentary style of shooting, the superb naturalistic performances, gives the movie its immediacy and urgency (The editing of the helicopter sequence is absolutely superb) - the sense that this is actually happening, as opposed to the dreadful American actionmovie stylization that dominates Swedish film-making nowadays (Nolltolerans, Hassle-förgörarna, Hamilton, the list goes on). Swedish directors should take a long, hard look at this movie, and hopefully get a clue as to what works and makes a movie believable, instead of trying to emulate an American-type of movie-making.

The first half of "Man On The Roof" (1976) plays like a police procedural, of the type you would see today in any "Nordic Noir" TV series. This section is rather dour and flat, and the whodunit part is resolved perfunctorily. The film gets a major boost of energy when the plot development announced by the title occcurs - in fact, it becomes riveting to watch. This may be the first Swedish action - disaster movie ever attempted. Carl-Gustaf Lindstedt does bring gravitas, if not exactly charisma, to the part of Commissar Martin Beck. Also notable is the complete absence of female roles not just from the police force but from the reporters as well, making you wonder if the only working women in 1970s Sweden were nurses! *** out of 4.

Intense and extremely good police-thriller. Bo Widerberg is earlier responsible for beautiful romantic movies as well as gritty social drama, and suddenly he hits us *slam* right in the face with this movie. "The Man on the Roof" can only be described as the *best* action-thriller ever to come out of Scandinavia. I fear Ingmar Bergman has met his match! The film starts out as a meticulous, detailed account into the investigation of a brutal murder. The search for the killer is lead by homicide detective Martin Beck (surprisingly effectively portrayed by veteran comic actor Lindstedt) and his team in the Stockholm police. Then suddenly barely halfway through, the picture changes pace as it turns into a gripping action movie -and a convincing one at that. Helicopters, machineguns, you name it - and all in the downtown area of Stockholm! I wouldn't believe it had I not seen it for myself. "The Man on the Roof" is definitely as good as expected, and then some.

This movie by Bo Widerberg is the peak performance in his career as I see it. It mixes realism with outstanding action sequences that still today haven't been done this good in Sweden. I haven't seen Mannen pa mallorca by Widerberg but that might be the one that ties this film. My favourite scene is probably when Martin Beck is on stakeout in an apartment where he tries to spot the killer. The scene is very well made and the old lady who owns the apartment is mostly concerned that Martin drinks his coffe and eat his cookies. It's pure magic. The best actor in this movie is Hakan Serner in a minor role, he portray the dull everyday life perfectly and it is very easy to imagine that this guy has been in the force way to long. A must see!

Energizing? No. Good Tension/Resolution. NO. Good Storytelling? No.

So what's left that is redeeming? Only the icy cold way the film was shot. The film is a mystery film, the tension that sets itself up as one is fairly well done. However,after that the course the movie that the movie takes to resolve the who dunnit is VERY flat,boring, and overall cliche. It is very obvious to the viewer who the perpetrator is from very early on. And it is seems like a eternity of mind-numbing scenes for the hero to figure out who done it. And even the film's climax is very poorly done. The last ten minutes are very cliche and by the end one doesn't care about anybody. To add on top of this the last minute to 30 seconds is just plain STUPID. So to add it all up this is a bad film which looks good in style(The only reason I didn't give it a 3)but is ultimately shallow in everything else. Avoid it.

This is probably the best film ever made in Sweden. It is unsurpassed in its effectiveness, from the performances, the 70's style semidocumentary storytelling and the editing. It owes a lot to the american masterpieces of that era like French Connection and The Seven-Ups. These types of gritty real police thrillers are a lost art, I wish someone would

reinvent them soon.

WOW!!! Before I saw this I was not expecting it to be so very good(just another cop-drama)but what i got was a masterpiece.Wideberg is not so famous international but in Sweden he counts as one of the best directors ever.First of all I would to say that technical this film is perfect.All the way from the masterful start to the un expected ending.

But not only that,the characters in this film are fantastic.And the acting is superb.It´s also famous because of it was the first real Action/crime film in Sweden and I still think that it is the best.A perfect film:Both very exciting and very realistic.5/5

This is one of the greatest Swedish police movies ever made. Sure, it is a child of is time, the mid 70's, but is has something other movies lack: tension and a documentary feel.

Yes, it has a slow beginning. It doesn't have the mantra of modern movie makers: pace.

Modern movies, regardless of genre, are to often cut to hard. One scene too much is often removed. Not in this movie, though. It is something so rare as an action movie with a slow pace and actual police work.

One of Sweden's most famous comedy actors of all times plays Martin Beck: the late Carl-Gustaf Lindstedt. He's doing the greatest portrait of this disillusioned policeman ever. Gösta Ekman, Peter Haber and Walter Matthau were not even close.

Mannen på taket is a great movie, has great actors, and is a great time document. A must see in my opinion. If you can see past modern movie cliché heroes and big explosions that is. There is a reason that no one has done a remake of this movie. All other books with Martin Beck has been filmed countless of times, but not this one... (It's named Den vedervärdige mannen från Säffle in Swedish or The Abominable Man in English).

In the 60s I was very keen on Swedish films and especially Ingmar Bergman like The Virgin Spring (1960) and The Silence (1963) but also Bo Widerberg like of Love 65 (1965) and really Elvira Madigan (1967) but probably never seen this before. It is wonderful, not so much an art movie, but really well done. At first there is a surprising killing and then, perhaps even more of a lot which seems to relate to Police corruption, and how. They are telling us of a terrible story and then not just the death of a Policeman but more to come, of course, on the roof. Some of the people not actors and the mix does well as it is so thrilling. At the very end maybe it doesn't seem quite as realistic but it is all together splendid.

Bo Widerberg made many different and exciting films. This one, along with "Mannen från Mallorca", is my favorite. It opens slowly but unnervingly before erupting with a very gory and terrifying murder 5 minutes into the story. After that, the film continues on a very slow pace(although it never gets boring) until the last half hour which consists of very well-done, but not standard, police-action. The film oozes of realism, from everything to small talk between father and daughter to attempts to stop a crazy gun man. The best swedish thriller ever, and damn good even by international standards.

The job of a director is to somehow direct actors. If you take good actors and a script that is mostly about action, they won't need much direction. But before the shoot the director has to think his story through, think about the pacing and how the plot comes together. That is this hard work that differentiates the clueless director - just happy to toy with a moving camera and shooting angles - from the good one.

Mannen på taket starts unnecessarily slow. The introduction takes only 6min but nothing happens until the last couple of seconds. It builds up nothing, we get almost no information about what it is all about. Then we get the exposition that will take us in a full circle along with some four police officers (their private lives, their connection to the case) for the next 60min. Ok we get an idea of who the victim was (I would not go so far as to say it is a clear picture) and at the 66min mark they start exploring their sole lead, which happens to solve the case.

Except now they must stop the guy. And you are already guessing what will happen since you've been waiting so long for A Man on the Roof. So last act is about a very clumsy police operation. Who wrote this? It is based on a book so they had the time to envision how it could be suspenseful? 40min of hapless cops improvising the most harebrained schemes to get the perpetrator. And some reviewers here dare rank this as the pinnacle of action sequences? Yippee ki-yay.

Apart from the cast the only other high mark is that there is no epilogue, fortunately having nothing to tack there at the resolution of uninteresting random action. So little for a 110min long movie.

And perhaps the best opportunity I have Stateside to explain its appeal after my first viewing nearly 30 years ago.

The novels featuring Martin Beck were skillfully written by a married pair of avowed Marxists in a style that was clinical yet neither entirely detached nor heavy-handed. Call them police procedurals, social commentary or political thrillers, or some amalgam if you like, but I had no connection whatsoever to their setting, and there was no reason I should have enjoyed them. But I did on first read, and still do, for I know these people and daresay you do too.

The film adaptation of "The Abominable Man" (a reference to the first victim) has a relentlessness that at times irritates and exaggerates any necessary pause. The casting and acting are purposive and earnest throughout. The directorial style, photography and editing are FAR superior to "the drunken cameraman" that permanently distracted me from Stateside police dramas in the Nineties. With insight you will identify the man on the roof early on, but by then it won't matter. You may remain puzzled by some of the characters' decisions, Beck's final one in particular.

Just sit back and watch Beck, Roenn, Kollberg, Larsson, Malm and others wrestle with a practically insoluble problem that puts many lives at risk in the worst possible environment, then wonder if you have not in fact viewed a documentary if not a primer.

Sjowall and Wahloo's "Martin Beck" stories were as much an indictment of Swedish society as they were tightly-plotted and well-written police procedurals.

This one in particular, involving a man with a quite reasonable grudge against cops and a hero cop who might not be all he's been built up as, is particularly political, exploring the ways in which the police/justice system has failed the people, while at the same time giving us a genuinely suspenseful film.

One of the things about the Martin Beck novels is that the authors were not shy about suddenly hitting us with shocking changes in what we they had spent considerable time - often over more than one book - establishing as "the way things are". In most such series - Ed McBain's "87th Precinct" books, for example - the situation and the characters (except for poor Bert Kling, for some reason) remain basically the same, book to book, to give the reader a familiar structure. Not so here.

But the single most dramatic, shocking incident in this film - taken straight from the book - will likely lose a lot of its impact for people who have never read any of the books - though it still has a pretty good punch, i suspect, even if you haven't read..

An excellent film of a more-than-excellent book; one that ought to provoke a few thoughts along with the adrenaline.

Very verite this one.

I caught a couple of scenes from this during the early days of HBO. Due to my youth, I thought it was funny the way the "lips didn't match the words." (You see....it was subtitled due to the Swedish language.)

I saw it again MUCH later and was blown away.

Bad cop meets a comeuppance in the hospital. Then we get a few scenes of very technical, and seemingly painstakingly filmed, police procedure. Big Bo seemed to be trying to show the world what Swedish Police go through on a day to day.

Bo was a huge fan of The French Connection and wanted to make the Swedish equivalent. Seeing as MOTR got the home country's version of Oscar for best picture....I'd say he succeeded. And the homage shows.

The book it was based on (The Abominable Man) was every bit as thrilling.

A playable DVD is hard to get outside of Europe but keep looking. This is a treasure worth the hunt.

This movie is from 1976, still Scandinavian movies were mostly known for their unrestrained sexuality or philosophical / religious artists like Bergman; but not for an action movie. As much as I admired Bo Widerberg as director I had never seen him directing an action thriller and (it should not surprise me) he was brilliant in that. The story follows basically a police procedural to capture a cop killer. As always in Widerberg there are social issues all over. Specially about police abuse. However it is quite strange to see how good this "brute" polices treat criminals compared to the likes of Dirty Harry or any other American police story. Here, an incarcerated man claims he has to be freed because it was over six hours without a case and the police free him. Another criminal is carried to the interrogation room without handcuffs and the guy insults the officer. But it seems for Sweden at that time everything else was consider abuse of power. In the final confrontation to catch the shooter. Nobody dare to kill the killer because it was punishable by law (even when the guy commit a massacre already). Going back, the movie follows a police procedural with such realistic small details that feels that everything is real. Even dialogs are quite simple and natural. By two thirds of the movie, the killer gets on a roof and starts killing people. That part of the movie is simply one of the best I saw in my life (and I saw a lot of movies) . The action is perfectly choreographed in a very realistic way; with camera angles that make you feel you are hanging high on a building. The helicopter attack and fall made 44 years ago is just perfect and impressive. Even how the killer is catch is totally unexpected as it was the last few words at the end. On top of the entertainment part (the pace is slow compared with actual thrillers but still interesting) there is reminder of less violent times where government respected people. Something it seems government officials had forgotten for a long time.

Well i never understand when people say about other movies like "The best Swedish police film since Man on the roof..."

How can anybody like this movie? First of all it haven't aged very well. The action is really lame.

The dialog seems to been written of a five year old. When police officers says lines like "we going in with attack police" The term does not exist and no real officer would use a name like that.

And the Heli-attack!!! What was that, do any sane people hang under a helicopter hoovering over a roof top when a guy armed with assault rifles and so on is hiding on it. And that he really hates police officers!!!

And the scene when 10 officers spray the rooftop with automatic fire in hope to hit the gunman. Hey they are in central Stockholm, how many innocent people would not they killed with all of those strayed bullets?

And the ending is in class with a children's movie. Never seen anything that bad before.

Think this movie more reflect how the extreme left in Sweden during the 70is viewed the police than its reflect how real police work works.

Wanna see a realistic police movie? watch Heat. A good Swedish police thriller? watch Zero Tolerance/Noll tolerans