Shoot First, Die Later


1h 34m 1974
Shoot First, Die Later

Brief Synopsis

The mafia tries to strong arm a crooked cop into stealing a police report.

Film Details

Also Known As
Poliziotto e marcio
Genre
Action
Crime
Thriller
Foreign
Release Date
1974

Technical Specs

Duration
1h 34m

Synopsis

The mafia tries to strong arm a crooked cop into stealing a police report.

Film Details

Also Known As
Poliziotto e marcio
Genre
Action
Crime
Thriller
Foreign
Release Date
1974

Technical Specs

Duration
1h 34m

Articles

Shoot First, Die Later


Among the many movie trends from the heyday of Italian cinema in the 1960s and 1970s, few have proven more durable than the poliziotteschi, an idiosyncratic strain of violent crime film in which cops and criminals are perpetually locked in a morally ambiguous battle. A particularly gifted practitioner of the subgenre was Fernando Di Leo, a screenwriter turned director who really came into his own in 1972 with the film Caliber 9. He spent much of the remaining decade exploring the themes of morally compromised law enforcement and humanity's bloodthirsty nature with such films as The Boss (1973) and Kidnap Syndicate (1975), but perhaps the darkest and most prototypical of his efforts is Shoot First, Die Later (1974).

This particular film would be of major cult significance anyway thanks to the first teaming of Di Leo with actor Luc Merenda, a partnership that would continue with an additional three films including the considerably brighter Nick the Sting (1976). In a sense Merenda could be seen as the Alain Delon to Di Leo's Jean-Pierre Melville, a French filmmaker the director greatly admired and hoped to collaborate with someday. However, Merenda was already established as a star in Italy thanks to his work with another director, Sergio Martino, including the crime classic Violent Professionals and the brutal shocker Torso (both 1973).

Despite its heavy action quotient, Shoot First, Die Later (original title: Il poliziotto è marcio) didn't receive a theatrical release in America and only appeared on home video decades later. That may be due to the extreme darkness of its protagonist, police lieutenant Dominic (Merenda), who takes bribes from the local syndicate since he believes the whole system is rigged anyway. His cop father (Salvo Randone) has no idea this is going on, and Dominic (whose name unfortunately got changed to "Dominique" on the most recent video release) even lands a girlfriend, Sandra (Delia Boccardo), whose welfare is soon put into jeopardy.

In keeping with the Italian exploitation tradition, this film lifts more than a few plot points from another source; in this case the unofficial source was Rogue Cop, a hardboiled pulp novel by William P. McGivern officially filmed by MGM in 1954 with Robert Taylor and Janet Leigh. However, the lifting ultimately shifted directions again when William Friedkin made To Live and Die in L.A. (1985), which updates elements from both McGivern's book and this film in particular along with the official source novel by former Secret Service agent Gerald Petievich.

Already a familiar name from Di Leo productions was the composer on this film, Luis Bacalov, an Argentina-born composer who got his start on films like Pier Paolo Pasolini's The Gospel According to St. Matthew (1964) and the landmark spaghetti western Django (1966). All told Di Leo and Bacalov worked together on a dozen films, with the composer going on to win an Oscar for his work on Il Postino (1994).

A sort of centerpiece to Di Leo's poliziotteschi cycle, this film was followed by a handful of further cop outings before the director embarked on his highly controversial and ill-fated erotic production, To Be Twenty (1978), which effectively marked the end of his mainstream career. He retired completely from filmmaking in 1985, though he lived long enough to see his work enjoy a major reevaluation both in Italy and abroad before his death in 2003. Considering his thoughtful and genial attitude about his work in action films, it's tempting to look at this film's pointed title as a suitable epitaph for Di Leo's entire career as well.

By Nathaniel Thompson

Click here to visit the TCM shop if you would like to purchase this DVD.
Shoot First, Die Later

Shoot First, Die Later

Among the many movie trends from the heyday of Italian cinema in the 1960s and 1970s, few have proven more durable than the poliziotteschi, an idiosyncratic strain of violent crime film in which cops and criminals are perpetually locked in a morally ambiguous battle. A particularly gifted practitioner of the subgenre was Fernando Di Leo, a screenwriter turned director who really came into his own in 1972 with the film Caliber 9. He spent much of the remaining decade exploring the themes of morally compromised law enforcement and humanity's bloodthirsty nature with such films as The Boss (1973) and Kidnap Syndicate (1975), but perhaps the darkest and most prototypical of his efforts is Shoot First, Die Later (1974). This particular film would be of major cult significance anyway thanks to the first teaming of Di Leo with actor Luc Merenda, a partnership that would continue with an additional three films including the considerably brighter Nick the Sting (1976). In a sense Merenda could be seen as the Alain Delon to Di Leo's Jean-Pierre Melville, a French filmmaker the director greatly admired and hoped to collaborate with someday. However, Merenda was already established as a star in Italy thanks to his work with another director, Sergio Martino, including the crime classic Violent Professionals and the brutal shocker Torso (both 1973). Despite its heavy action quotient, Shoot First, Die Later (original title: Il poliziotto è marcio) didn't receive a theatrical release in America and only appeared on home video decades later. That may be due to the extreme darkness of its protagonist, police lieutenant Dominic (Merenda), who takes bribes from the local syndicate since he believes the whole system is rigged anyway. His cop father (Salvo Randone) has no idea this is going on, and Dominic (whose name unfortunately got changed to "Dominique" on the most recent video release) even lands a girlfriend, Sandra (Delia Boccardo), whose welfare is soon put into jeopardy. In keeping with the Italian exploitation tradition, this film lifts more than a few plot points from another source; in this case the unofficial source was Rogue Cop, a hardboiled pulp novel by William P. McGivern officially filmed by MGM in 1954 with Robert Taylor and Janet Leigh. However, the lifting ultimately shifted directions again when William Friedkin made To Live and Die in L.A. (1985), which updates elements from both McGivern's book and this film in particular along with the official source novel by former Secret Service agent Gerald Petievich. Already a familiar name from Di Leo productions was the composer on this film, Luis Bacalov, an Argentina-born composer who got his start on films like Pier Paolo Pasolini's The Gospel According to St. Matthew (1964) and the landmark spaghetti western Django (1966). All told Di Leo and Bacalov worked together on a dozen films, with the composer going on to win an Oscar for his work on Il Postino (1994). A sort of centerpiece to Di Leo's poliziotteschi cycle, this film was followed by a handful of further cop outings before the director embarked on his highly controversial and ill-fated erotic production, To Be Twenty (1978), which effectively marked the end of his mainstream career. He retired completely from filmmaking in 1985, though he lived long enough to see his work enjoy a major reevaluation both in Italy and abroad before his death in 2003. Considering his thoughtful and genial attitude about his work in action films, it's tempting to look at this film's pointed title as a suitable epitaph for Di Leo's entire career as well. By Nathaniel Thompson Click here to visit the TCM shop if you would like to purchase this DVD.

Fernando Di Leo Italian Crime Collection, Vol. 2 on Blu-ray


Italian crime thriller director Fernando Di Leo is a favorite of Quentin Tarantino -- the director has gone on record crediting Di Leo's 1972 The Italian Connection as an inspiration for Jules and Vincent in Pulp Fiction -- but apart from a few dubbed and often recut VHS releases, his films were not readily available on home video for Americans to see. Raro Video has made it their mission to correct that oversight. In 2011 they released the box set Fernando Di Leo Crime Collection, featuring four stand-out gangster movies on DVD (the Blu-ray edition came out in 2012), and after a few stand-alone releases in the interim, they follow it up in 2013 with Fernando Di Leo: The Italian Crime Collection Vol. 2 (Raro) on both DVD and Blu-ray.

This three-disc set boxes up Shoot First, Die Later (1974), a ruthless crime drama starring Luc Merenda as a corrupt cop on a mission of righteous vengeance (previously released as a stand-alone disc), with two disc debuts: Naked Violence (1969), a juvenile delinquent cop drama by way of social commentary, and Kidnap Syndicate (1975), a revenge thriller with Merenda, this time playing an innocent bystander roused to take justice into his own hands.

Shoot First, Die Later, one of Di Leo's best, stars Merenda as Domenico Malacarne, a hotshot cop on the Milan strike force. Young, good looking, and at the center of big, dangerous cases, he is the department poster boy for police heroism and Di Leo kicks off the film with a volatile undercover assignment and a ferocious car chase that rivals The French Connection. Just the thing to introduce Domenico as an ambitious hero with a penchant for muscular assignments and brazen action, right before revealing that he's on take. The collision of the unpredictable nature of character with the impersonal code of mafia business is at the center of Di Leo's best gangster films and revenge is big, bloody, and violent. So when Domenico's father, a modest and idealistic career cop who sacrifices all for his son (including, at one point, his moral code), is murdered by a local mafia lieutenant, Domenico goes after the mob and its business-like boss (Richard Conte), who negotiates the crisis with ruthless aplomb after his underlings botch the job.

Domenico doesn't have much dimension as a character -- he's just a guy who thrives on the adrenaline of a dangerous assignment and lives beyond his salary on the payoffs from the mob as if he's earned it -- but he takes the condemnation of his father like a slap and the combination of guilt and fury fuels his rampage in palpable. Di Leo revs up the film some of the most impressive car chases I've seen in seventies cinema. (The stunt driving in the two car chase scenes were coordinated by French stunt driver Remy Julienne, and his team gets prominent billing in the opening credits.)

Again, Italian crime cinema takes its cue from American movies and then adds its own cynical edge and melodramatic intensity. American cop heroes of the seventies were mavericks, outcasts, idealists, and obsessives, but they were always focused on justice, however they defined it. Di Leo's hero is the compromised cop who stops justifying his corruption only when he's pushed too far and crossed by his paymasters. It's not justice, it's revenge, but since he's avenging an innocent and taking out the bad guys, he'll do as the hero in this equation.

Kidnap Syndicate is much angrier and more bilious, with the outrage split between the kidnappers of the title and the dispassionate industrialist (James Mason, playing the part with silky corruption and unfeeling arrogance) whose son was the original target. Merenda plays a working class single father, a simple auto mechanic who is caught up in the high stakes game when his boy is grabbed up along with the industrialist's son. The innocent kid is just collateral damage, another bargaining chip in a game where tycoons and criminals treat human life as a business deal, something to be negotiated for maximum leverage.

Where Shoot First, Die Later features elaborate and visceral car chases, Merenda's mechanic in Kidnap Syndicate is a retired motorcycle racer and the third act relies on his biker skills to complete his vengeance against the kidnappers. While not exactly political, Di Leo makes the case here that big business and mob business are just two sides of the same coin and the working class is the victim of both. It's all in the title: the kidnapping of children of the rich is presented as veritable cottage industry masterminded by the mob with the dirty work contracted out to a network of thugs for hire. Di Leo makes a point of the business-like hierarchy of the syndicate, at first to emphasize the corporate structure of the criminal enterprise, and then to chart the father's journey to find the thugs who killed his son. His revenge isn't a matter of balancing the scales, it's simply payback from a man who hasn't anything left to live for, and thus nothing to lose.

In contrast to these two hard-edged cops-and-criminals thrillers, Naked Violence is a social drama with an exploitation hook. Think The Blackboard Jungle updated for the violent, sexually permissive late sixties by way of a police drama. The film opens with gargoylish close-ups of the boys in a class for problem kids and by the end of the opening credits, they have raped and murdered their teacher and left her sprawled naked on the desk for the police to find. The film proper follows dedicated Commisario Duca Lamberti (Pier Paolo Capponi) -- tough, compassionate, and weary of both the out-of-control social culture and the politically-motivated police command -- as he doggedly searches for the truth behind the stories told by the rogues gallery of juvenile delinquents.

The social drama ends up with a Psycho-sexual undercurrent of power and intimidation while our dedicated hero also proves to be both a tough and tender ladies' man who not only wins over the social worker (Susan Scott) but ends up making her a partner in his investigation and his romantic life, and even becomes a father figure to the most vulnerable boy of the group. It's not the usual Di Leo crime film we've come to expect in these sets, but it is effective (if blunt) and dynamic.

Shoot First, Die Later is mastered from the original 35mm negative (it still looks a little rough but that's a matter of wear on the original elements; the image is sharp and vivid) and the two others are digitally restored from less-than-stellar prints (especially Naked Violence, which is full of surface speckling and audio distortions) but look perfectly acceptable thanks to the clarity of the film image in these transfers. All feature original Italian soundtracks with new English subtitle translations plus an optional English dub soundtrack.

Supplements in this set include five interview featurettes originally made for Italian DVD, some of them produced before Di Leo's death in 2003: "The Good Fellas" (18-minute remembrance of Naked Violence with Fernando Di Leo, actor Pier Paolo Capponi, and others), "Fernando di Leo at the Cinematèque Français" (15-minute discussion with programmers at the famed cinemateque discussing Di Leo's work), "Master of the Game" (25-minute interview with Di Leo), "The Second Round of the Game" (21-minute featurette with actor Luc Merenda, assistant director Franc Lo Cascio, and editor Amedeo Giomini), and "Violent Cities: The Other Fernando Di Leo Trilogy" (a 28-minute discussion of the early career of Di Leo with the director, Meranda, and other collaborators). Also includes a booklet with (mostly anonymous and grammatically challenged) notes on the films.

By Sean Axmaker

Fernando Di Leo Italian Crime Collection, Vol. 2 on Blu-ray

Italian crime thriller director Fernando Di Leo is a favorite of Quentin Tarantino -- the director has gone on record crediting Di Leo's 1972 The Italian Connection as an inspiration for Jules and Vincent in Pulp Fiction -- but apart from a few dubbed and often recut VHS releases, his films were not readily available on home video for Americans to see. Raro Video has made it their mission to correct that oversight. In 2011 they released the box set Fernando Di Leo Crime Collection, featuring four stand-out gangster movies on DVD (the Blu-ray edition came out in 2012), and after a few stand-alone releases in the interim, they follow it up in 2013 with Fernando Di Leo: The Italian Crime Collection Vol. 2 (Raro) on both DVD and Blu-ray. This three-disc set boxes up Shoot First, Die Later (1974), a ruthless crime drama starring Luc Merenda as a corrupt cop on a mission of righteous vengeance (previously released as a stand-alone disc), with two disc debuts: Naked Violence (1969), a juvenile delinquent cop drama by way of social commentary, and Kidnap Syndicate (1975), a revenge thriller with Merenda, this time playing an innocent bystander roused to take justice into his own hands. Shoot First, Die Later, one of Di Leo's best, stars Merenda as Domenico Malacarne, a hotshot cop on the Milan strike force. Young, good looking, and at the center of big, dangerous cases, he is the department poster boy for police heroism and Di Leo kicks off the film with a volatile undercover assignment and a ferocious car chase that rivals The French Connection. Just the thing to introduce Domenico as an ambitious hero with a penchant for muscular assignments and brazen action, right before revealing that he's on take. The collision of the unpredictable nature of character with the impersonal code of mafia business is at the center of Di Leo's best gangster films and revenge is big, bloody, and violent. So when Domenico's father, a modest and idealistic career cop who sacrifices all for his son (including, at one point, his moral code), is murdered by a local mafia lieutenant, Domenico goes after the mob and its business-like boss (Richard Conte), who negotiates the crisis with ruthless aplomb after his underlings botch the job. Domenico doesn't have much dimension as a character -- he's just a guy who thrives on the adrenaline of a dangerous assignment and lives beyond his salary on the payoffs from the mob as if he's earned it -- but he takes the condemnation of his father like a slap and the combination of guilt and fury fuels his rampage in palpable. Di Leo revs up the film some of the most impressive car chases I've seen in seventies cinema. (The stunt driving in the two car chase scenes were coordinated by French stunt driver Remy Julienne, and his team gets prominent billing in the opening credits.) Again, Italian crime cinema takes its cue from American movies and then adds its own cynical edge and melodramatic intensity. American cop heroes of the seventies were mavericks, outcasts, idealists, and obsessives, but they were always focused on justice, however they defined it. Di Leo's hero is the compromised cop who stops justifying his corruption only when he's pushed too far and crossed by his paymasters. It's not justice, it's revenge, but since he's avenging an innocent and taking out the bad guys, he'll do as the hero in this equation. Kidnap Syndicate is much angrier and more bilious, with the outrage split between the kidnappers of the title and the dispassionate industrialist (James Mason, playing the part with silky corruption and unfeeling arrogance) whose son was the original target. Merenda plays a working class single father, a simple auto mechanic who is caught up in the high stakes game when his boy is grabbed up along with the industrialist's son. The innocent kid is just collateral damage, another bargaining chip in a game where tycoons and criminals treat human life as a business deal, something to be negotiated for maximum leverage. Where Shoot First, Die Later features elaborate and visceral car chases, Merenda's mechanic in Kidnap Syndicate is a retired motorcycle racer and the third act relies on his biker skills to complete his vengeance against the kidnappers. While not exactly political, Di Leo makes the case here that big business and mob business are just two sides of the same coin and the working class is the victim of both. It's all in the title: the kidnapping of children of the rich is presented as veritable cottage industry masterminded by the mob with the dirty work contracted out to a network of thugs for hire. Di Leo makes a point of the business-like hierarchy of the syndicate, at first to emphasize the corporate structure of the criminal enterprise, and then to chart the father's journey to find the thugs who killed his son. His revenge isn't a matter of balancing the scales, it's simply payback from a man who hasn't anything left to live for, and thus nothing to lose. In contrast to these two hard-edged cops-and-criminals thrillers, Naked Violence is a social drama with an exploitation hook. Think The Blackboard Jungle updated for the violent, sexually permissive late sixties by way of a police drama. The film opens with gargoylish close-ups of the boys in a class for problem kids and by the end of the opening credits, they have raped and murdered their teacher and left her sprawled naked on the desk for the police to find. The film proper follows dedicated Commisario Duca Lamberti (Pier Paolo Capponi) -- tough, compassionate, and weary of both the out-of-control social culture and the politically-motivated police command -- as he doggedly searches for the truth behind the stories told by the rogues gallery of juvenile delinquents. The social drama ends up with a Psycho-sexual undercurrent of power and intimidation while our dedicated hero also proves to be both a tough and tender ladies' man who not only wins over the social worker (Susan Scott) but ends up making her a partner in his investigation and his romantic life, and even becomes a father figure to the most vulnerable boy of the group. It's not the usual Di Leo crime film we've come to expect in these sets, but it is effective (if blunt) and dynamic. Shoot First, Die Later is mastered from the original 35mm negative (it still looks a little rough but that's a matter of wear on the original elements; the image is sharp and vivid) and the two others are digitally restored from less-than-stellar prints (especially Naked Violence, which is full of surface speckling and audio distortions) but look perfectly acceptable thanks to the clarity of the film image in these transfers. All feature original Italian soundtracks with new English subtitle translations plus an optional English dub soundtrack. Supplements in this set include five interview featurettes originally made for Italian DVD, some of them produced before Di Leo's death in 2003: "The Good Fellas" (18-minute remembrance of Naked Violence with Fernando Di Leo, actor Pier Paolo Capponi, and others), "Fernando di Leo at the Cinematèque Français" (15-minute discussion with programmers at the famed cinemateque discussing Di Leo's work), "Master of the Game" (25-minute interview with Di Leo), "The Second Round of the Game" (21-minute featurette with actor Luc Merenda, assistant director Franc Lo Cascio, and editor Amedeo Giomini), and "Violent Cities: The Other Fernando Di Leo Trilogy" (a 28-minute discussion of the early career of Di Leo with the director, Meranda, and other collaborators). Also includes a booklet with (mostly anonymous and grammatically challenged) notes on the films. By Sean Axmaker

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