Director:
Olivier MarchalCámara:
Denis RoudenReparto:
Daniel Auteuil, Gérard Depardieu, André Dussollier, Roschdy Zem, Valeria Golino, Daniel Duval, Francis Renaud, Catherine Marchal, Guy Lecluyse (más)Sinopsis(1)
París. Desde hace varios meses una banda de atracadores que opera con una violencia inusual y total impunidad tiene en jaque a la policía de la ciudad. El director de la Policía Judicial, Robert Manzini, ha dejado muy claro a sus dos colaboradores más directos, Leo Vrinks y Denis Klein, que quien sea capaz de acabar de acabar con la situación será el que le sustitucha a la cabeza de la jefatura del 36. A partir de ese momento se establece una lucha abierta entre Leo y Denis... (Sony Pictures Esp.)
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Reseñas (8)
En el buen sentido, un drama criminal a la antigua usanza sobre un duelo de caracteres más que de armas de fuego. El personaje del villano interpretado por Depardieu está hecho a la medida de este actor, los personajes secundarios tienen sentido y no hay ni un solo agujero en la trama, aunque no es complicada. Acción policial en un paquete europeo decente e inteligente. Lo único negativo son algunas escenas demasiado sentimentales o largas que hacen que la película parezca más larga de lo que realmente es.
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Even before Olivier Marchal sat in the director's chair, he must have seen a lot of bad things during his previous police career, because otherwise, he wouldn't have been able to portray this harsh story of an uncompromising battle between police officers and criminals, even among themselves, with such perfectly honed rawness. Formally, 36th Precinct only lightly hints at the style of older French and American crime films, but then it continues as a modern narrative in which Marchal hands over the sharp editing and fast camera movements to the pace itself, which at times rushes incredibly wildly and then slows down mainly in the second half, as a completely different storyline emerges. The slower rhythm of the story is mirrored in the music, transitioning from booming samples to romantically sounding piano tones, and every audience member begins to desperately hope for at least a small happy ending that would somewhat soothe their jolted senses. Under the director's firm hand, Daniel Auteuil and Gérard Depardieu give riveting performances, especially the latter who surprises in an uncharacteristically negative role. If there's anything wrong with 36th Precinct, it's probably the somewhat roughly carved psychology of the characters in the first part of the film, where the viewer must speculate a bit about the reasons for the mutual animosity between the policemen. However, this is just a minor flaw in an otherwise formally and thematically brilliant film that will make you sick not only of the police but also of "all the filth around" as a whole.
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At long last a good French crime movie following in the footsteps of the great tradition of years past. Maximum emphasis on characters and their mental states is pleasant, although they didn’t have to sideline the screenplay because of it. It is slightly brought down by the ending, which is “just" good, not on the excellent same par as the rest of the movie. The dark characters that had been so carefully constructed throughout the movie (the atmosphere as well) then seem to trail off into nothing. Had this been made in the seventies, I would give this four stars as an above-average genre piece. However, these days I can’t give it less than a full set of five: I really miss this kind of movie. And also Marchal won my admiration for his evident love for Heat.
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You can't expect a bad film from Olivier Marchal. Department 36 is an excellent French crime thriller focusing more on rivalry and backstabbing between cops, but all this is so gripping that the film won't let you breathe a sigh of relief, and all this accompanied by an excellent cast (the film has all the stars from France, only Vincent Cassel and Jean Reno are missing). I've never seen a better police story. Very good. 80%.
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The professional experience of a cop and the talent of a filmmaker (bravo Marchale!) combine to create a compelling crime drama that reminded me in its mood of the old Delon movies and the crime films made in France in the 1970s. The film stands on an engaging plot, the excellent performances of two of the most prominent personalities of French cinema today (I like Auteuil more and more from film to film, and Depardieu is very believable as a villain) and a raw realistic atmosphere starting with solidly shot action scenes and ending with the production design. French cinema as I like it is still alive!! Fuck Besson’s disposable production prefabs :)
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