O Assassino no Telhado

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!

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.

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.

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.

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.