36 – Tödliche Rivalen

Ein altmodischer (im guten Sinne des Wortes) Krimi, in dem es eher um den Kampf der Charaktere als um den Kampf der Schusswaffen geht. Zu Depardieu passt die Rolle des Schufts super gut, die Nebenfiguren machen Sinn und der Plot, auch wenn er nicht besonders kompliziert ist, hat keine Lücken. Eine Polizeiaction in einer dezenten und intelligenten europäischen Verpackung. Ein Nachteil sind nur einige sehr sentimentale oder langwierige Szenen. Da hat man das Gefühl, dass der Film länger dauert, als es in Wirklichkeit der Fall ist. (19.03.2006)

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 :) (29.10.2005)

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. (03.08.2005)

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. (18.06.2005)

It is absolutely necessary to engage in the game of the creators - War of the Cops is a very tough crime story from the old school, set in a modern visual style. Those who do not accept this will be bored. Although I also experienced it in the beginning and was surprised by the high average here, over time it becomes increasingly easier to believe in Depardieu's cold eyes that ominous desire for power, and on the contrary, to deduce from Auteil's that despite all the unacceptable transgressions, his core is about doing good. This makes the twists in the final third have an even greater impact on the viewer, where I admired the uncompromising nature of the screenwriters several times. 75% (18.03.2007)

I cannot help but compare this excellent crime film to the king of the genre, Heat. In several aspects, both are quite similar. Two strong characters, their families and friends, accomplices and enemies, murders, intrigues, cold nights in the city – there is indeed a lot of it. However, while Michael Mann plays out a literal epic battle, Olivier Marchal takes a more intimate approach, which is not at all a bad thing. The shortcomings of the screenplay, which is excellent in its own right, are richly compensated by the actors – their captivating performances will stay in your memory for quite a while. The action is more than solid, and the shootout at the warehouse is a breathtaking experience thanks in part to the excellent DTS sound. No sentimentality, no pathos, and no unnecessary emotions where they shouldn't be, a strong, honest, and captivating French crime drama. (03.12.2005)

Mit 36 – Tödliche Rivalen kehrt die Stimmung der guten alten Zeiten zurück, in denen es vor den französischen Kameras von Schauspielern wie Gabin, Ventura oder Delon nur so wimmelte. Einerseits haben wir hier die beiden exzellenten Hauptdarsteller, die frostige und rohe Geschichte (bei der zwar ein gutes Ende möglich ist, die aber genauso gut auch in ein tragisches Massaker ausarten kann) und eine nicht beneidenswerte, beklemmende Stimmung. Andererseits merkt man, dass sich der Regisseur und die Drehbuchautoren darum bemüht haben, den Film für alle zu machen, d. h. auch für die junge Generation. Das hat dazu geführt, dass das ruhige Tempo durch (meiner Meinung nach überflüssige) Actionszenen unterbrochen wird… Deshalb – auch wenn ich es gern tun würde – bekommt der Film von mir keinen fünften Stern. Er ist aber trotzdem ausgezeichnet. Vor allem vor Depardieu ziehe ich den Hut. (04.12.2010)