6.7/10
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3 user 24 critic

Shoot First, Die Later (1974)

Il poliziotto è marcio (original title)
A police lieutenant suddenly faces the consequences of his choice to part for the local mobs.

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(screenplay), (story)
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Cast

Cast overview, first billed only:
...
Domenico
...
Mazzanti
...
Sandra
Raymond Pellegrin ...
Pascal
Gianni Santuccio ...
Questore
Vittorio Caprioli ...
Esposito
Salvo Randone ...
Malacarne
Rosario Borelli ...
Garrito
Monica Monet ...
Barbara
Gino Milli ...
Gianmaria
Elio Zamuto ...
Rio
Loris Bazzocchi ...
Killer
Marcello Di Falco ...
Killer
Massimo Sarchielli ...
Raba
Marisa Traversi ...
Nevio
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Storyline

A police lieutenant suddenly faces the consequences of his choice to part for the local mobs.

Plot Summary | Add Synopsis

Genres:

Action | Crime | Thriller

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Details

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Release Date:

22 March 1974 (Italy)  »

Also Known As:

Shoot First, Die Later  »

Filming Locations:


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Technical Specs

Runtime:

(TCM print)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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User Reviews

 
Papa's Got a Brand New Body Bag
1 August 2016 | by (Guernsey) – See all my reviews

Though generally a tad overrated (neither Milano Calibro 9 nor Il Boss are the transgressive "masterpieces" some Italocinema fetishists want them to be), so-called "cult" director Fernando di Leo manages to strike some grippingly dissonant chords in Shoot First, Die Later, the original title being less sensationalistic than bone dry: The Rotten Cop. While most poliziotteschi are essentially feelgood movies, the degenerates and lowlifes getting what they justly deserve, this one marches to an entirely different drum. At its core a father-son story – the excellent Salvo Randone playing Pops to the opposite of leading beau Luc Merenda –, it's a cynical morality play about a model cop appropriately named Malacarne (literally meaning "bad meat") who feels perfectly comfortable with being on the payroll of the mafia until things go terribly awry: Unlike the cheap-thrills roller coaster violence of other Eurocrime movies, the stark brutality here comes across as callous, pitiless, not even nasty, but unpleasant through and through; actually, the two car chases, skillfully done by stunt coordinator Rémy Julienne, feel like a concession to the regular poliziotto crowd. In its acidly sarcastic Weltanschauung and the complete lack of redeeming qualities, Shoot First, Die Later is doubtless more akin to the cinema of Rosi, Damiani or Elio Petri than to the staccato over-the-top action of Castellari or Lenzi: A doom loop of human failings.


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