Harry Callaghan and Popeye Doyle have become iconic characters since their first appearances in the early seventies and the Rogue Cop genre has remained extremely popular.
To non-European audiences Inspector Favanin is hardly likely to be a household name. His character appeared in 1970 in this film of Yves Boisset and it is well-nigh impossible fifty years on to appreciate just what an impact the film made and the obstacles its director faced to get it released without cuts. Due to its graphic violence and its depiction of the police, Boisset was obliged to go before a censorship committee one of whose members was Jean-Pierre Melville(!) and eventally its release was approved. Suffice to say its notoriety guaranteed excellent box office.
The masterstroke here is the casting, against type, of Michel Bouquet. When his friend and colleague played by Bernard Fresson is killed in the line of duty Favenin becomes an avenging angel, using any means at his disposal to track down those responsible, thereby becoming not only judge and jury but also executioner.
As one would expect from Boisset this is a study in corruption and furthermore, by the standards of its time its content is relentlessy grim, desolate and bloody. There are no romantic, folk hero types here with their particular moral codes in the style of Melville but instead beasts in the jungle. Does Favenin regret his actions? The final shot of him sitting alone is cleverly ambiguous.
Bouquet is riveting in the role and he is ably supported by Adolfo Celi, Michel Constantine, Gianni Gekko, Henri Garcin and Francoise Fabian.
Although this film undeniably broke new ground and forever transformed the genre in France, I personally harbour no desire to view it again.
Ironically, it was knocked off its top slot by 'Le Cercle Rouge' of none other than Jean-Pierre Melville!
To non-European audiences Inspector Favanin is hardly likely to be a household name. His character appeared in 1970 in this film of Yves Boisset and it is well-nigh impossible fifty years on to appreciate just what an impact the film made and the obstacles its director faced to get it released without cuts. Due to its graphic violence and its depiction of the police, Boisset was obliged to go before a censorship committee one of whose members was Jean-Pierre Melville(!) and eventally its release was approved. Suffice to say its notoriety guaranteed excellent box office.
The masterstroke here is the casting, against type, of Michel Bouquet. When his friend and colleague played by Bernard Fresson is killed in the line of duty Favenin becomes an avenging angel, using any means at his disposal to track down those responsible, thereby becoming not only judge and jury but also executioner.
As one would expect from Boisset this is a study in corruption and furthermore, by the standards of its time its content is relentlessy grim, desolate and bloody. There are no romantic, folk hero types here with their particular moral codes in the style of Melville but instead beasts in the jungle. Does Favenin regret his actions? The final shot of him sitting alone is cleverly ambiguous.
Bouquet is riveting in the role and he is ably supported by Adolfo Celi, Michel Constantine, Gianni Gekko, Henri Garcin and Francoise Fabian.
Although this film undeniably broke new ground and forever transformed the genre in France, I personally harbour no desire to view it again.
Ironically, it was knocked off its top slot by 'Le Cercle Rouge' of none other than Jean-Pierre Melville!