Uomini si nasce poliziotti si muore

Can best be summed up as the "Spaghetti Starsky & Hutch" but with better car chases, more sex (and sexism) and more violence. Prime 1970s Poliziotteschi up there with the best of Franco Nero, Fabio Testi or Mauricio Merli

'Nuff said, but apparently not enough for an imdb review, so I will continue...

Ray Lovelock looks like another refugee Americano actor following the path most famously trodden by Clint Eastwood, Charles Bronson, Lee van Cleef and his friend Tomas Milian, but in fact he was born in Italy of an Italian mother and English father. He is blond and plays the "Hutch" role.

Marc Porel was born in Switzerland, but his parents were both French actors. He is dark and plays the "Starsky" role.

Adolfo Celi plays the "Captain Dobey" role, his face will be familiar from numerous character parts in post war Hollywood and across European cinema, most notably as supervillain "Emilio Largo" in the James Bond classic "Thunderball"

Silvia Dionisio plays the feisty modern woman who cheerfully puts up with the lads crude sexist banter and gives as good as she gets in the repartee department

Sofia Dionisio gets her kit off.

This one really pushes the envelope on "ends justify the means" police tactics, even compared to the other Italian cop-thrillers I've seen. The two protagonists are cops who belong to an "anti-gang" squad...that means, in this case, that they actually act like gangsters. They're nihilistic, sexist a-holes. They like blowing things up for fun. They shoot criminals BEFORE they commit crimes. A gangster wants them out of the picture and has one of their colleagues shot; from there on, they actively engage in gang warfare. That's the plot.

The dialog is not at all clever. The premise is set up lazily and has no authenticity to it. The musical score is light-weight, typical 70's cop-thriller fare.

It's consistently entertaining, however. Whether laughing out loud or gasping in shock, I was never bored. There's plenty of eye-popping violence on a level with "Violent Naples" to satisfy fans in that department. The ending is very abrupt, surprising, and cool; it gives the whole rest of the movie a darker tone.

I definitely recommend it to fans of violent, Italian cop-thrillers from the 1970's, or any violent cop-thrillers from the 1970's, or good, trashy movies in general.

You just know you're in for one hell of a thrill-ride when the movie you're watching opens with a 10-minutes-long chase sequence on motorcycles; through the crowd-infested streets of Rome and ending with a shocking execution that truly goes against all the rules of ethically correct police work. "Live like a Cop, Die Like a Man" is a work of genuine 70's exploitation, scripted by the multi-talented Fernando Di Leo and directed by the almighty Ruggero Deodato. Deodato is, without a doubt and hands down, the KING of exploitation cinema! A couple of years before he dedicated himself to the notorious jungle adventures ("Jungle Holocaust", "Cut and Run" and, of course, his ultimate masterpiece "Cannibal Holocaust") and brutal revenge-horror ("House on the Edge of the Park"), Deodato made his one and only "Polizieschi" movie, but it's definitely memorable & unique enough to rank among the best in the sub genre. "Live Like a Cop, Die Like a Man" is an indescribably sadistic and cynical film and it's very different from the usual efforts in the "Polizieschi" genre. These raw and explicit Italian crime-thrillers always introduce macho cop characters that shoot first and ask questions later, but at least they usually have good reasons for their very unorthodox investigation techniques. They either want to avenge a murdered friend or colleague, or they're on a tight time-schedule to rescue kidnapped children or recover a stolen treasure. (Al)Fred(o) and (An)Tony(o), the two protagonists in Deodato's film, are different. They simply cross the thin line between justice and delinquency because they enjoy it! Much more than any other entry in the Polizieschi sub genre, "Live Like a Cop, Die like a Man" glorifies extreme violence and nearly encourages people to take justice into their own hands. Fred and Tony terminate unarmed & defenseless gangsters, force female suspects into having sex with them, burn down fancy cars and invade private clubs for no real reason and they carelessly endanger the lives of civilians. And whilst they're performing their "jobs", they never for one second stop to pay attention to their good playboy-looks and macho charisma. This film is fast-paced and multiple isolated sequences are terrific (the hostage-situation! The bank robbery!), but the script as a whole sadly lacks continuity and depth. There's no actual plot, as Fred & Tony are simply hunting down Rome's biggest crime boss, Roberto Pasquini, and they eliminate a lot of his accomplices and random street scum during their 'assignment'. Most other Polizieschi flicks have a slightly more intelligent script, but "Live Like a Cop, Die Like a Man" primarily benefices from sickening violence, gratuitous sleaze and unscrupulous controversy. The editing is sharp, the lurid 70's music is fabulous and Deodato's profound direction is brilliant and ultimately praiseworthy. I read somewhere that the motorcycle chases amidst crowded shopping streets and during broad daylight were filmed without official permission. Your name simply has to be Ruggero Deodato if you risk endangering the lives of unsuspecting civilians only to shoot credible and realistic footage of Rome!

Live Like A Cop, Die Like A Man (they sure don't make films with awesome titles like this anymore) is a poliziotteschi directed by none other than Ruggero Deodato, the man who would deliver two of the most uncompromising, relentlessly mean-spirited exploitation movies ever in 1980, namely the still notorious Cannibal Holocaust and the depraved sleaze-fest House On the Edge Of the Park. Deodato was a man who never shied away from extremity in his movies and so it was with some interest I went into this one, particularly seeing as the Italian poliziotteschi genre is one hardly renowned for its restraint or political correctness in the first place. Well, I think it would be only fair to say that Deodato has once again delivered a tough genre film, full of excessive violence. Except in this case, and unlike those two infamous movies I mentioned before, the fun factor is considerably higher here as the levels of mean-spiritedness are noticeably lower.

Aside from Deodato at the helm, this one benefits enormously from having Fernando di Leo as its screenwriter. I think it would be fair to say that di Leo is the king of this particular sub-genre and has several outright classics under his belt as director. His input, therefore, is always going to be a significant bonus. It would probably be fair to say that the screenplay to this one is less thoughtful than the ones he used for his own films but it still nevertheless gets us from A to B in a highly entertaining fashion. This is one of many Italian cop films which followed the basic template laid down by the international hit Dirty Harry (1971), in that it features the use of brutal police tactics used to sort various low-life criminals out. Other Italian films used this idea, such as Umberto Lenzi's Violent Naples (1976) but where that film had one violent cop, this one has two! They go through the picture killing and torturing criminals, endangering the general public and indulging in sexist behaviour at every given opportunity. These guys work for the special squad section of the Rome police department and the film is basically made up of a number of different encounters they have with various criminals.

Events kick off with no messing about with a great extended motorcycle chase through the scenic streets of Rome, later the boys use their special brand of force against violent criminals holding an unfortunate woman hostage in her home, they also take out a group of thieves before they can even attempt to commit the crime in question and later dispatch a variety of gangsters in a quarry shootout. In other words, this is good violent fun, poliziotteschi style. The manner that these cops deliver their unorthodox brand of violent justice is so casually delivered and at no point in proceedings does anyone truly question their methods, aside from the occasional light ticking off from their superior. But let's be honest, it's this complete lack of any political correctness whatsoever that is a significant part of what makes Italian cop thrillers such fun nowadays – they don't make them like this anymore that's for sure! If you could imagine a parallel universe where 'Starsky and Hutch' were nihilistic police officers who blow up cars on purpose, have threesome sex with suspects and break the necks of criminals for the hell of it, then it would be something not far off Live Like A Cop, Die Like A Man. You've just got to love the Italians.

This film is so manly I grew a third testicle just watching it! Here's a film where men are men, bad guys get a bullet between the eyes just for thinking about committing crime, and women are for shagging and doing the filing. Either director Deodato is taking the piss here, or this is the kind of Eurocrime film that definitely would be accused of being a bit fascist.

Marc Porel and Ray Lovelock are two young coppers who trust each other so much they share a flat, ride tandem on a motorbike, and make inappropriate sexual remarks to their bosses' secretary. They also love a bit of police brutality, as seen when they get involved in a motorbike chase at the start of the film (two robbers try and steal a purse from a woman who won't let it go, even though she's dragged along the road into a lamppost and has her face stomped). After a lengthy, exciting chase, they cause the robbers to crash, and Marc finishes one off by breaking his neck.

Their boss Adolfo Celi seems to put up with their antics, even if he doesn't agree with them. They are all after Mr Big, some guy called Pasquali, and have just set up a special squad in order to track him down, but when the guy who gets eaten by a ridiculous giant alien in the film Contamination gets gunned down, it gives our fellas an excuse to go and shag the bad guy's sister! These guys are so close that Ray Lovelock doesn't sloppy seconds after Marc Porel is finished! Nothing says masculine than not being bothered about stirring another man's custard.

I'm sure this must be some sort of parody but then it's hard to tell in Italian cinema. Every criminal who comes up against the two cops gets killed, including a gang just about to rob a bank (six executions on the streets before a crime's committed?) and remarkably sexist even for an Italian film, plus all the subtle hints that the two cops might be gay. The most telling scene is at the start when the robbers run over a guide dog and everyone just leaves the poor blind guy standing in the middle of the road.

Who knows? I enjoyed it anyway. Bruno Corazzari gets his eyeball poked out too.