ben hibburd Maurice Pialat's Police is a moody, gritty French noir. The film stars Gérard Depardieu as Mangin a rough, no-nonsense police detective, that during the process of trying to bust a Tunisian drug ring falls for a mysterious alluring woman (Sophie Marceau) whose linked heavily with the gang. Maurice Pialat directs this film with his usual stoic motifs, and just like The Mouth Agape it works for this film. The tone is excellent thanks to the use of classic noir elements. The main issue I had with the film, is that that it wasn't concise about what it wanted to achieve, whether that's to be a straight police procedural or a character piece/love story, in the end it becomes a melting pot of different ideas.Another problem I had with this film was it came across too passive, there was no punch to the story, everything just happens with low energy. The pacing left a-lot to be desired, most of Pialat's work is finely paced, but in a film like this which is more focused on plot it needed to be a bit quicker. There were large portions of the film where I found myself becoming disinterested in what was happening on screen.This is the weakest film I've seen from Pialat so far. What saves the film from being flat-out boring is Gérard Depardieu's excellent performance. He carries the film by being constantly interesting and engaging. He's also a fantastic conduit for other performers as his energetic screen presence bounces off all the actors in the film. Most notably is his terrific chemistry with Sophie Marceau together they really keep the film alive when it starts to become contrived and uninteresting.This is the weakest film I've seen from Mubi's retrospective look at Pialat's filmography, which is disappointing because I've enjoyed the majority of his films. In summery Police is a missed opportunity, it's an average crime drama that's boosted by two strong central performances. Police is the last film from Pialat's mostly stellar filmography that I would recommend.

Murder Slim Maurice Pialat's POLICE begins with an extensive interrogation by a cop... played by Gerard Depardieu. The shots almost exclusively flick back and forth in medium shot. To begin with, the criminal is defiant. But over the course of almost 10 minutes, he's slowly broken down into a confession. It's a fascinating scene to watch... and although it's not recreated directly throughout the rest of the movie (10 minute scenes with two shots would get tiresome quickly...), the mood of the opening scene permeates through the whole of POLICE. The movie is a slow breakdown of the facade people build around themselves.Much of the dialogue seems improvised. Characters stumble over words, and get caught in seemingly unrelated conversations. The "Masters of Cinema" extras DVD catches Pialat berating actors on set... trying to pull something out of the improvisation. He was apparently a real pain to work for, but the end result seems to work in POLICE.Depardieu is the centre of attention, playing the slightly shonky cop, Louis. He's hulking in size, 6ft tall and a pretty wide load, often towering over the bad guys and dwarfing the various girls he flirts with. At times, Louis is almost comedic, grabbing every ass around him. He thinks he's a whizz with the ladies and the greatest cop around... and because he throws his weight into it all, people believe him.The depth of POLICE is we see Louis behind the charade, progressively doubting himself. He's falling in love with one of his suspects, Noria (played by Sophie Marceau, who ended up sinking into being a Bond girl in THE WORLD IS NOT ENOUGH) and it's eating away at him. He's bending more rules than ever, and getting unnecessarily interested in a girl whose own family don't trust her. Louis becomes frantic, reaching out for prostitutes, drink and - eventually - frantically humping Noria in the Police HQ.The strength of the movie - and whether you'll like it or not - revolves around Louis. He's very irritating at the start of the movie... a letch, an idiot, someone searching for reactions from people. He's sleazy and seemingly irremediable. Yet, at the movie goes on and as his vulnerabilities creep through, he becomes strangely likable. Can he trust Noria? Is she leading him on to save herself, or is she as lost as he is? So many films have predictable relationships but this one is a good 'un. We neither trust Noria or Louis, yet we feel sympathetic towards both of them. This all leads to a real doozy of an ending - and a thought provoking one too.POLICE isn't a quick watch. It lacks dynamic scenes, and it's only for those who can take constant dialogue. It's also not a movie laden with style. But when close-ups are used, they're used to great effect. Louis's confused big-nosed mug... Noria's seemingly flawless good looks... something's going on behind those surfaces. You may gripe at the movie needing to be shorter and tighter, but it'll leave an impact because of these two fascinating characters. And, for that reason, it's well worth getting hold of a copy of POLICE.

Bob Taylor This is the one attempt that Pialat made to do a police procedural film. The story is told of how he got Depardieu and Marceau, the two biggest stars at the time, to commit to the project, then realized he had no script. He dispatched Catherine Breillat, she of the steamy soft-core classics, to spend her nights in Belleville soaking up the atmosphere of Arab drug gangs and write a script. Of course, he hated it... But why go on. Pialat's films are such a triumph of will over circumstances (his own failings) that it is useless to analyze the making of them.He has got Depardieu to play a detective, but somehow the character flows naturally out of Loulou, made five years previously. There is the same wildness, the same physicality, the same need to take risks. When the detectives, the hooker, the lawyer and Noria are all in the nightclub together, they are all risking something but they don't care much. The plot turns on a cache of drug money found in Noria's apartment, but that is just a convenience for the viewer; Pialat has a need to show us people under pressure, getting beaten, getting shot, spending time in prison and so forth.Reality intrudes on fiction: Frank Karaoui--who has several scenes as a restaurant owner and drug dealer--was convicted of dealing in real life.

steve-533 I don't think anybody can make films like the French. Let's all go to France and watch films. Maurice Pialat has put something together here that's like a religious experience. At the end a soaring modern aria comes on and right there in the first few notes you realize he really did trick us - it wasn't about money, lust and war but life and the common tragedy. This is a film I first saw on video about 7 years ago. It blew my mind then. Warhol had come to mind, because of the overall affectless tone, the plodding rhythm. I had found it in our local supermarket then and again last week, up for sale $3.50. No way I was going to miss it - I had blabbed about it to too many people thru the years. But I procrastinated looking at it, expecting it to be boring. I couldn't really remember much besides its tone. The schedule cleared, though, and equipped with a serious remote I chopped my way through slowly, back over the subtitles again and again catching it all. A knockout.