Confession d'un commissaire de police au procureur de la République

This uncompromising look at power and corruption is fascinating. Although I had never heard of the film, the combination of cast, director, and subject matter piqued my curiosity, so I purchased a copy. I am glad I did. While this film is certainly not the most pleasant thing to watch, it does provide a daring insight into the corrupt world of crooked cops on the take and a mafia-controlled system which is frank and disturbing, and must have really been a shock to audiences in 1971. Fine performances and unflinching direction make this movie one which fans of the crime/cop-movie genre will not want to miss.

Boom! Awesome, flawless movie. Doesn't get much better than this movie. Balsam's performance is so divine that it gives me goosebumps to this date. Highly recommended if you can find it. The pace is perfect...not too slow, not too fast. It unfolds wonderfully.

Political thriller by Damiano Damiani (BULLET FOR THE GENERAL, HOW TO KILL A JUDGE) that creates a world so vivid that every time I watch it, I forget Franco Nero didn't dub his own voice. The opening scene takes place in a Sicilian mad house, hundreds of years old, fortified with decaying stone. It is here that we first hear Riz Ortolani's amazing theme, a fuzz-tone guitar and a melancholy orchestra, and the ranting and moans of madmen. We see Captain Bonavia (Martin Balsam, who did dub his own voice) arrange for the release of LiPuma, a psychotic criminal obsessed with cleanliness who is no sooner free than he makes an attempt on the life of a gangster named D'Ambrosio, which results in the deaths of Lipuma and several of D'Ambrosio's thugs, but not D'Ambrosio. It is immediately hinted that Bonavia arranged for LiPuma's release for just this reason. The mystery here isn't who did what, but why he did it, and who you're supposed to root for: Captain Bonavia, the official made cynical and allegedly irresponsible by years on the job, who may or may not be motivated by graft, or DA Traini (Franco Nero), who investigates the attempt on D'Ambrosio's life. Traini is young and idealistic and immediately suspects Bonavia's involvement. Bonavia is fifty going on a hundred and mocks Traini at every turn as he fills him in on the history of a city built, literally, on corpses. Damiani underlines the similarities between these two men--does Traini embody the idealism Bonavia lost, are they both just stooges of a corrupt, ancient system--in subtle ways, and he, along with Balsam, builds Bonavia's character with equal aplomb. You can watch this film repeatedly and see these subtleties, equal credit for which must go to Balsam's performance, which is one of his best, which is saying a lot. Minor characters, like LiPuma and his hunted sister, Serena, come across with enough depth to exacerbate the tension. Riz Ortolani's score chimes in at just the right moments to intensify the drama, which is what this really is, a drama that grabs you by the guts. Damiani's ability to create this kind of film, angry and topical, anti-establishment, but so lived-in, it never feels forced, deserves greater recognition. This one, especially, should be required viewing, despite the fact that I've never seen it in any form other than a cheesy DVD that probably capitalized on public domain and is dubbed (it should be noted that the Italians dubbed most of their films, even the Italian versions, and were good at it) and has glitches that lead me to believe it was mastered from VHS. Don't avoid; the integrity of the film survives.

I'm a big fan of Italian cop flicks, but Confessions of a Police Captain actually doesn't contain many of the things that I love this type of movie for. Damiano Damiani's film is an early example of the Polizi flick and has the rare accolade of not following on the heels of Don Siegel's masterpiece Dirty Harry. The film is a rather more sober affair than what I'm used to from this sort of film and doesn't feature the things such as car chases, gun fights and fistfights that other films in this genre feature in droves; but this is made up for by the fact that the director has created a stylish and interesting film that flows well throughout. The plot focuses largely on the mafia that run Italy over and above the law. Our two central characters are Commissioner Bonavia and District Attorney Traini who are investigating mafia occurrences in the city. The plot begins with an attempt on a man's life, and the man later turns out to be D'Ambrosio; a man high up within the mafia. The two law enforcers appear to be on the same page in fighting the crime in the city...

Damiano Damiani was apparently quite a prolific crime film director in the seventies; although the only film I'd seen from him prior to this one was the abysmal Amityville II. It's clear that he has a real flair for this sort of film, however, as Confessions of a Police Captain is perfectly pitched and very professionally done. The fact that the film doesn't feature the things that usually make these films exciting may be a hindrance for some people, but in my opinion; the film has more than enough going for it elsewhere. The two central performances are one of the film's strongest elements. American actor Martin Balsam is fantastic as the police commissioner, but even better than him is Franco Nero as the district attorney. I've seen a lot of Franco Nero films and every time I see him, I become more impressed. He's a very versatile actor who seems to be able to play just about any role and once again he gives a fantastic lead performance. The commentary on justice is well thought, although I have to admit that I wasn't keen on the ambiguous ending. Overall, this is at the very top of Italian cop flicks; while it doesn't fit in with some of the better known examples, it's hard to deny that it is a gem of a movie.

This exceptional Italian crime drama not only presents an extremely plausible and thrilling plot, but also protagonists Franco Nero and Martin Balsam delivering their performances of their lives.

Director Damiani, best known for his mafia films (and maybe for "Amityville 2" which stands as his only horror film he ever directed), tells a gripping story about a frustrated police officer (Balsam) who decides to use illegal methods to get his hands on a criminal (probably a member of the mob - but the mafia is not an obvious topic in this film). But Balsam's character is rather tragic than villainous, so one really suffers with him when the district attorney (Nero) lays his hands on him. Nero's character too is not villainous at all, because he's just doing his job.

A powerful masterpiece, highly recommended and thoroughly impressive.