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Shoot First, Die Later (1974)
Luc Merenda gives the performance of his career as a highly regarded police detective who is taking syndicate money in exchange for departmental favors. His father, a simple man, also works for the department but on a lower rung; he isn’t jealous of his son, but rather proud of him, little knowing that he’s a crooked cop. A series of events leads the young detective to ask his father for a favor (he wants a certain police report that is desired by the syndicate) and it doesn’t take long for the detective’s father to realize his son is on the take… which leads to numerous complications.
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Behold a Pale Horse (1964)
Manuel Artiguez, a famous bandit during the Spanish civil war, has lived in French exile for 20 years. When his mother is dying he considers visiting her secretly in his Spanish home town. But his biggest enemy, the Spanish police officer Vinolas, prepared a trap at the hospital as a chance to finally catch Artiguez.
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Bitter Victory (1957)
A commander receives a citation for an attack on Rommel’s headquarters, which is actually undeserved as the commander is unfit for his job. On top of that, unbeknownst to him, his wife is having an affair with one of his officers.
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We Are All Murderers (1952)
Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France’s execution system. Charles Spaak’s screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur–and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four “protagonists.” We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.
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Flesh and the Woman (1954)
In this romance, a jilted lawyer joins the French Foreign Legion to help him forget his faithless love. While in the desert he espies a village beauty who is the exact double of his true-love.
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OSS 117: Mission for a Killer (1965)
A secret agent is dispatched to find a rare and valuable drug.
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A Police Officer Without Importance (1973)
Camille, Dov and Joëlle live on the edge of society and are involved in petty theft helping them to buy their drug doses and to survive as best they can. One day, while attempting to rob a movie theater, they activate the alarm signal and it is Pierre, Camille’s brother, who is doing a heist in the same building, who is arrested red-handed. The three young people decide to kidnap a police officer and exchange him for Pierre.
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Submission (1976)
In wartime France, Pharmacist Elaine (Lisa Gastoni) begins a torrid affair with her shop assistant Armand (Franco Nero), but she soon becomes dominated by him. He demands more & more from her, humiliating her & putting her family at risk.
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Street War (1976)
The film focuses on Murri; the token maverick cop. He is called in after a bunch of criminals pull off a successful prison break and spend the night picking off various informers and people they don’t like. Murri investigates; hooking up with one of the criminal’s nieces along the way. He uses his own methods; which mostly involve breaking all the rules, and thus comes under a lot of scrutiny from his superiors who don’t take too kindly to the cop’s way of working.
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