Horrible, fascist and poorly acted

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

When Kitano directed and acted in this masterpiece of his production, as well as of the whole Japanese cinematographic panorama, people expected him differently. It was 1989 and Beat Takeshi (as Kitano is known in his homeland) was realizing his first experience on the big screen. He was and still is a comedian, a master of jokes but here we have a hardboiled movie with a soundtrack and slow scenes that reminds some noir ones. So something so different from a style of a comedian. However in this story we have a link given by some grotesque elements that make us grin rather than smile. The way Azuma inspector run after the criminals, the way he punish them, as well the corruption among the police are a proof of this black humor. We sympathize with his methods justified by the circumstances even if are violent. Another element that emerges here is the way of filming with a alternation of close-ups. This technique, developed by Ozu in Japan, put the face of Kitano in front of us as well that of his rivals. We wait for a smile, a joke or, on the other side, an hungry expression full of hate and desire of revenge. But we find something different, a mix of this two way. A grin, the same we have at the end of this amazing movie. A masterpiece that shows a comedian becoming a policeman to show how ridiculous and dumb the institution can be. And all we have to do, is laugh. Rather than cry. As when we guzzle a bitter beer at the end of an hard day like Azuma did here. Wandering what is good and what is not and finding again ourselves doing that thing. Grinding.

There is no doubt in my mind that Takeshi Kitano is one of the greatest cinematic geniuses alive, and his nihilistic 1989 directorial debut is a fantastic proof for that. "Sono otoko, kyôbô ni tsuki" aka. "Violent Cop" is one of the rawest, most uncompromising cop films ever made, and, at the same time, arguably one of the most promising debut films ever delivered. Due to its 'unorthodox cop' premise, the film is often compared to films like the "Dirty Harry" series or "Bad Lieutennant". The stone-faced and irascible copper Azuma (brilliant performance by director Kitano, under his acting name 'Beat Takeshi'), is ten times dirtier than Harry ever was and incomparably more ruthless than the Baddest New York Lieutennant. Azuma could even give the ultra-unorthodox coppers in 70s Italian Poliziotteschi flicks a lesson in police violence. At least most violent cops in 70s exploitation cinema did what they did to protect society from scumbags, whilst Azuma does it out of anger, and he does not even bother asking questions before beating confessions out of criminals. Honestly, "Violent Cop" beats everything in the copper-flick field in its incredibly nihilistic premise, and yet it finds the time for slower moments, and Kitano's typically absurd and ingeniously black humor.Detective Azuma (Kitano), and irascible homicide detective hates the criminal as he hates the crime, and he does not attempt to hide this attitude. His unorthodox methods, which include the severe beating of suspects, have caused him trouble with his superiors in the past, but Azuma does not seem to care. When ruthless Yakuza gangsters make things personal, they have to realize that they might have made an enemy whose relentlessness easily equals theirs... I would love to further discuss the film's ingenious plot, but I do not want to spoil anything, as every true film lover should be able to experience the greatness of "Violent Cop". Unlike Kitano's other films, for which Kitano himself wrote the stories, this film is an adaptation of a novel by Hiashi Nozawa. Kitano's work, however, is ingenious, as screenwriter, director and leading man of this film. There is no other director who is capable of combining brutal nihilistic violence, tragedy and (black) comedy as effectively as Kitano does. Asked about the violence in his films in an interview, Kitano himself has once stated that nobody could possibly want to reproduce the violence seen in his films, simply because it is painful to look at. And it is true, hardly another director makes the pain caused by the violence as obvious as Kitano does. Kitano has a unique stamina when showing violence, which makes the viewer almost feel the pain. I don't want to spoil anything by giving an example - see this film and know what I am talking about. At the same time Kitano always has moments that are absurdly comical. As all Kitano protagonists, Azuma, even though an irascible and violent man, has a very odd sense of humor. His response to a barmaid's question what he does for a living is just one example for that. Also in a typical Kitano-manner, the film takes the time for slower parts in-between, like Azuma crossing a bridge for example. Kitano is as great as leading man as he is as director here. His stoic performance as Azuma is brilliant. The stone-faced copper always has a poker face, but it is nonetheless obvious that he is boiling in fury - how many other actors could be predestined for a role like this as Kitano is. No one, in my opinion. It is Kitano's performance which carries this film, and yet the other performances are also excellent. Hakuryu is particularly excellent as a sadistic Yakuza hit-man. Maiko Kawakami is also very convincing as Azuma's mentally disturbed sister. The rest of the cast includes several great character actors who have since become regulars in Kitano's films, such as Ittoku Kishihe as a Yakuza boss or Makoto Ashikawa as Azuma's young colleague. Lovers of Italian cult-cinema, by the way will be delighted to see a scene in which Kitano brilliantly pays tribute to Sergio Martino's Giallo "La Coda Dello Scorpione" (1971). "Violent Cop" is greatly shot and accompanied by an insanely brilliant score. Kitano's use of music in his films is another part of his brilliance, and really has to be experienced instead of explained.All said, "Violent Cop" is a unique cinematic experience that must not be missed. Ultraviolent, nihilistic, sometimes slow in detail and more often fast and incredibly raw, brutal, sometimes tragic and sometimes oddly comical, this is the uncompromising masterpiece that marks the beginning in the cinematic career of one of today's most brilliant filmmakers. And, apart from his unmatched 1997 masterpiece "Hana-Bi" (aka. "Fireworks"), Kitano's debut still ranks among his greatest accomplishments. A true must!

Detective Azuma has been shuffled around police precincts for years due to his effective but "unpleasant" methods. Another Chief and another warning comes his way but he does not change. Events conspire to make his violent and direct methods an important part of a drugs case, however his progress quickly reveals deals and conspiracies behind the racket that not only threaten him and his colleagues but also his mental ill sister Akari Hard to imagine this film being delivered for laughs but this is how it could have been had Kitano not been able to step into the director role and rewrite the script to take the comedy elements out and leave a standard "tough cop" plot behind. Instead what we get is a stark and tough story that is engaging in its minimalist approach to delivering a story. On paper and in terms of dialogue (as far as I could see – more later) the story was reasonably straightforward although does have a good ending that I didn't see coming in several regards. What makes it more than that though is the delivery from Kitano. In directing he establishes his visual style and blunt depiction of violence with long takes, sudden violence and a lack of glamorisation that many similar films do as standard. The plot may be simple but in holding back from stating the obvious, the film gives the characters more room to breathe, or rather develop, within the minds of the viewer; so a diner meeting is shot in silence from across the street or Azuma's pain at the end is played out in his actions not in an "Oscar-bid" style scene for the actor.This approach works really well and I was surprised by how engaging the film was considering how standard the plot was and how little dialogue there often was to carry it. While he visually produces an unique feel, Kitano also broke away from his comedy face and delivered the hard, superficially cold performance of few words that he is now known for. He drives the film and it is him who holds the eye anytime he is on screen. He is well supported by Kawakami, Ashikawa and others but really they do not have the material to impress and tend more to be in the genre film that Kitano otherwise manages to avoid.A quick word about the DVD copy I watched (which was fully legal from LoveFilm and not a copy). Although it seemed to get better as it went on, it is generally a poor job. The picture quality is low although you do get used to it but of more irritation for the first half are the subtitles. For the guts of the film the subtitles seem to miss one of every three sentences at random; OK the next line often makes it easy to work out what was just said but it was very frustrating and quite inexplicable to me. This is not a fault of the film though, and it is well worth seeing. Delivered in the style we have come to love from Kitano, the stark delivery, patient and minimalist visual style and his restrained silent acting, he makes this film and it is understandable why this film gave him many more opportunities afterwards.

Violent cop is an excellent film in the league of cops versus hoodlums genre.What is amazingly unique about it is that even though maverick master Kitano has always maintained close proximity to the sphere of Japanese Yakuza gangs,he has nevertheless been able to portray a concise,crisp,candid vision of the sordid milieu of the Japanese cops. While watching it,I was mesmerized by its mellifluous soundtrack which has some of the most haunting effects ever recreated for a film.As far as similarities with Dirty Harry are concerned one must look at that aspect from cultural point of view.In Kitano's film there is good deal of respect for family relations. I don't know whether the same holds true for Eastwood's film.It can be said that those liking this film will be impressed by one of its opening sequences which best exemplifies the notion that the method adopted is acceptable if the results achieved are satisfactory. All in all this film is a decent commentary about the sorry state of affairs of Japanese police system which is not at all different from those of other countries.