646f9e108c Detective Azuma is a Dirty-Harry style rogue cop who often uses violence and unethical methods to get results. While investigating a series of drug-related homicides, Azuma discovers that his friend and colleague, Iwaki, is supplying drugs from within the police force. After Iwaki is murdered and Azuma's sister is kidnapped, he breaks all the rules to dish out his particular form of justice.
A violence prone police officer discovers that his colleague is trafficking drugs.
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.<br/><br/>Detective Azuma (Kitano), and irascible homicide detective hates the criminalhe 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… <br/><br/>I would love to further discuss the film's ingenious plot, but I do not want to spoil anything,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,screenwriter, director and leading man of this film. There is no other director who is capable of combining brutal nihilistic violence, tragedy and (black) comedyeffectivelyKitano 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 violenceobviousKitano 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. <br/><br/>Kitano isgreatleading manhe isdirector here. His stoic performanceAzuma 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 thisKitano 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 excellenta sadistic Yakuza hit-man. Maiko Kawakami is also very convincingAzuma's mentally disturbed sister. The rest of the cast includes several great character actors who have since become regulars in Kitano's films, suchIttoku Kishihea Yakuza boss or Makoto AshikawaAzuma'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.<br/><br/>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!
Takeshi Kitano is the most popular comedian and TV-presenter of his country, but he also writes, directs and acts in ultra-violent gangster-movies. "Violent Cop" was his first one, followed by such masterpieces"Sonatine" and, of course, "Hana-Bi". Although "Violent Cop" is not his best one, it is a hot tip for all who like Japanese movies and their very special, strange kind of violence. The cop Azuma (played by Kitano) tends to be violent, but in the beginning, he holds this back a little bit. He is very silent and shows no emotions, even when he`s fired from his job. From this moment, he starts his personal war with the Yakuza, the Japanese mafia, who kidnapped and raped his sister. The shootout at the end is very brutal and seems to be quite "normal", so you leave the cinema with a bitter taste this very "cold" movie left behind.


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