Live Like a Cop Die Like a Man was directed by Ruggero Deodato, who’s other notable film’s include Cannibal Holocaust and House on the Edge of the Park. The screenplay for Live Like a Cop Die Like a Man was co-written by Fernando Di Leo (Calibre 9) a filmmaker in his own right, who work within the Poliziotteschi is widely considered the high water mark for this genre. The cinematographer on Live Like a Cop Die Like a Man was Guglielmo Mancori, who’s other notable films as a cinematographer include Run, Man, Run, A Quiet Place to Kill (Paranoia) and Web of the Spider.
 
With a title like Live Like a Cop Die Like a Man, it is not surprising that this film is one of the more violent entry’s to emerge out of the Poliziotteschi genre. Right from the get go this film establishes a brutal tone that not only sustains throughout, it actually escalates to a fever pitch by the film’s explosive conclusion.

Whether it be the film’s lengthy motorcycle chase that opens the film or the way in which this film’s to main characters Anthony and Alfredo, who quickly resolve a hostage situation. Pacing is never an issue as things move along at a break neck pace. There is an immediacy to Anthony and Alfredo’s actions that makes the things they do all the easier to digest. Sure they don’t exactly play by book, but then those who they are taking down don’t have a total disregard for law and order.

Narrative wise, though the plot is fairly routine cops verse thugs. It is the way in which Anthony and Alfredo approach their job that sets this film apart when compared to other Poliziotteschi films. Another key ingredient to why this film has such an enduring legacy, is the way in which it depicts brutality of screen. Instead of bringing suspects, they torture and in some cases break their neck. And when trying to get information from a female suspect, they use their position to gain sexual favors. And while there is an abundance of violence that erupts on screen, most of which is directed towards human suspects. There is a scene in two suspects being chased by Anthony and Alfredo run over a blind man’s seeing eye dog. Had this been just about any other director this scene would not be a disturbing. A few years later Ruggero Deodato would direct what is arguably one of the most controversial film’s in Italian history, the aforementioned Cannibal Holocaust. A notorious film know for it’s cruel depiction of animal’s being tortured to death.
 
Performance the is not a single performance that is lacking. The chemistry between Marc Porel (Don’t Torture a Duckling) and Ray Lovelock (Oasis of Fear) is without a doubt this film greatest asset. Regrettably a proposed sequel would never materialize. It would have been interesting to see where they went with these characters. Two other performances of note include Adolfo Celi (Danger: Diabolik) in the role of the boos of the anticrime squad and Renato Salvatori (Rocco and His Brothers) in the role of Roberto Pasquini, a.k.a. Bibi, the crime boss that the anticrime squad are desperate to locate and take down.