UK Premiere! Eurocrime! The Italian Cop and Gangster Films that Ruled the ’70s




Directed by Mike Malloy. Starring Franco Nero, Enzo G. Castellari, Henry Silva, Richard Harrison and John Saxon. USA 2012, 127 mins.

ROME ARMED TO THE TEETH, MILAN CALIBRE 9, CRY OF A PROSTITUTE, HOW TO KILL A JUDGE… just four of the hundreds of ‘poliziotteschi’ movies the Italian Film Industry churned out during the turbulent 1970s once the Spaghetti Western and Giallo trends subsided. First they aped the American crime hits of the day DIRTY HARRY and THE GODFATHER. But soon they addressed typically Italian issues like the Mafia, Camorra, Red Brigade and even ‘scippo’ – Vespa bag-snatching. And rushed production methods meant ‘poliziotteschi’ superstars Franco Nero, Richard Harrison, Luc Merenda and Maurizio Merli performing their own stunts, directors stealing shots, no live sound recording and a rapid bleed-over between real crime torn from newspaper headlines and violent movie action. Here those once involved in the genre paint a brilliant picture of all that madness and mayhem in this lucidly explained visually dynamic documentary packed with fabulous clips and poster artwork.

Full festival passes are on sale now and single performance tickets go on sale 28th July – Check the Frightfest website for further details

Special Cop in Action – Dorado Films ‘Screeners Project’

The film is finished, the dead weight lies trampled on the editing room floor… all that is left is the Screener. The producers anxiously await the response of the audience. Success or failure relies on the last year and a half of work. Obscurity or success is discovered only in this one moment.

Today, films with character and charm are vanishing. Quirky films are being forgotten. Some films never even had a chance to vanish, they just never arrived. How can we save these precious, ocassionaly unpolished or rough, gems from being ignored?

Welcome to the Dorado Films Screeners project. We have access to hundreds of such films. We do not have the funding to release all of these great films in the pristine, original quality they deserve (if even available). These are our marketting test. These Screeners help us put the funding toward the right films, films that will be appreciated by the largest amount of fans. These Screeners are what we can give back to the fans of these rare films without spending money that will not be recovered. We can experiment, be different, throw these films into the spotlight one more time and see if they can live up to the success the producers, directors, actors, and crew once thought was possible.

What can you do to help?

Watch the films. If you like it keep watching it.

Comment on actors. Comment on the plot. Comment on locations. Comment on film techniques. Comment on what you disliked about the film. COMMENT. Your comments will shape which films we try next. Help us by offering your opinion. You have an opinion. We need to hear it.

Tell others. If you really like a movie, talk about it to your friends. If you think a scene is particularly fantastic, get a link to it (How To) and send it to others. If you love a film, share the love. The more response you get for a film, the more likely you will see something more done with it.

A word about quality

Many of these films are going to be transfered from 1″ broadcast tapes. The quality will not be great, but it was once deemed worthy enough to be shown on television. Other than meeting the format requirement for YouTube, these tapes are shown as is with no altering or primping. This is the quickest, cheapest, simplest way for us to deliver these films to you. We are striving for quantity not quality with these screeners. This is a test after all. Commenting on quality of the transfer is not constructive. To protect our film from piracy, we have added a slight watermark.

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For more details plus a list of other films in the ‘Screeners’ project head on over to Dorado’s website at THIS LINK

Check out the Special Cop in Action aka Italia a mano armata ‘Screener’ in its entirety below…

La settima donna – Ray Lovelock Interview

The following interview came with an Italian VHS release of ‘La Settima Donna’ aka Terror. Many thanks to Hari Alfeo for translating the interview into English…

Your name, Raymond Lovelock, doesn’t seem Italian yet you’re an Italian through and through?

One hundred percent. I was born in Rome , my father was English, my mother Italian, and I’ve always lived in Italy .

Did you feel you found the artist in you after a movie like Plagio and Banditi a Milano, i.e. did you seriously consider continuing to work as an actor or did you hesitate?

What can I tell you… Those were busy years, I took things as they came along. The same goes about my wife. We met in 1968 and were married in 1970 because we got along well. We got married without thinking too much about it. It’s now 29 years that we’ve been together. I’ve been very fortunate, but the decision to get married could just as easily have been a risk. I took things with ease. Tomas Milian had a lot to do with that. He was like an older brother and I did everything he said.

Unlike, say, Maurizio Merli, who did everything one could do with the poliziesco in Italy , which eventually typecast him in the genre, you crossed every genre without risking overexposure…

It’s a question of choices. I was fortunate to have on my side a partner who saw things a certain way, i.e. we never cared that much about money. Especially at that time, because as you get older you start putting things in proportion, but money has never been my life’s goal. So the way I approached things was: “Now I’ll do a picture and with the money I make I’ll get by for as long as I can, while turning down the things I don’t like” That’s how it was for many years. Then again, it’s not like I led this life of luxury. Eventually, however, when I found myself with only 50,000 lire in the bank, I had to be less choosy and, in order to survive, accept parts that were worse than those I’d rejected.

It seems to me, however, that this proved good for career longevity…

Frankly, I’m incapable of making such assessments. If I’d been different and more yielding with regard to certain things, I might’ve done much more. I can see that now, it would’ve led to other things. Just think that at one time I even had the chance to move to the States and work there. I was doing Il grande attacco with Umberto Lenzi and this woman, Sala, called me, she was selling films abroad, and told me about an American lawyer who’d seen me in some films and wanted me in his movie agency. It was a small agency with three American actors, the rest were European. I went to meet him because we shot two weeks of Il grande attacco in Los Angeles . So this guy didn’t make any guarantees, but said that I might manage to work in the American star system. The only thing was that I had to move to the States for at least one year. My wife said immediately that she had no problem with it, but I knew I would’ve had to deal with the kind of person I am. I know what I’m like: very anxious, very tied to my roots, my neighbourhood, things… Anyway, I passed. I was fascinated by it but at the same time it scared me. You know what scared me at first? Not so much having to leave the Italian star system, which at that time wasn’t even that strong, but being squashed by the American machine, being unable to manage my career properly. I could think of so many people I knew who were very satisfied professionally but very unhappy inside.

What did you mean by “I might’ve done much more”? You mean in terms of movies?

That too… actually I’ve never been the jet set type who went to parties, sucking up to producers… I never wanted to take part in certain scandals or certain scoops that were offered to get my name in the papers. Even my agent, Luciana Soli, urges me telling me “But Ray, you have to go to these promotional parties from time to time because you can meet important people, you have to do it as though it were part of your job” And she’s right, it’s all true, but I’d tell her “Look, for me, it can even be counterproductive. Let’s say I go there, and then I either can’t utter a word or act all disinterested or unpleasant, I’d ruin my chances myself” It was a bit of an alibi, because the truth is I just don’t care about the jet set life. I wanted to land roles because a director had seen me in something and liked me, not because we’d had lunch together.

Nevertheless, you continue working…

Yes, it’s true. There was something Pietravale told me at the beginning of my career, “It’s not difficult to make it but stay there”, and that’s always been my rule. Besides, it’s just a question of how you approach life, because obviously there are times when you’re on top and times when you’re a bit on the decline, then other times when you’re wanted again and others when you hit a trough. The important thing is how you take the success and lack thereof. I knew colleagues who’d get depressed if two instead of ten people turned around to look at them in the street. It’s a game, you mustn’t take these things too seriously…

Were you one of those actors who went to see their movies in cinemas?

Not always, when they invited me. This thing about looking at my work became more pronounced in television, not for personal reasons but because in television it’s always possible to redo a scene that didn’t work. Way back when I started working in television there was always a monitor on which you could always check everything was all right. If something didn’t work you saw it in real time and could ask the director “You mind if we do it again?” Because even there, assuming that you’re never satisfied with what you do, you could spend days trying to improve it.

How did you rate as an actor in those years?

Look, I experienced, let’s say, big success, with television. At the movies, I had my space and nothing more. I don’t think I was ever a movie star. Perhaps only Banditi a Milano was a big success with both the critics and the public. As for the rest…

Are you satisfied with your acting career?

Yes, sure. You know, parallel to this acting career I had the fortune to have a wife and a daughter, which isn’t the custom in the movies. And perhaps this helped me to keep the right distance from things.


Roma a mano armata

Roma a mano armata (Umberto Lenzi, 1976)

aka Rome Armed To The Teeth / The Tough Ones / Assault With a Deadly Weapon / Die Viper

Downtown Rome in the mid 1970s was a tough place for the local Police. Purse snatchers prowl the local parks, gangs of armed men turn over betting shops and spoiled rich kids get their kicks from raping young girls. Luckily, for anyone on the right side of the law, Inspector Leonardo Tanzi (Maurizio Merli) is on the local beat, cruising the streets in his Alfetta, ready and willing to run down injustice in a heartbeat. Unfortunately Tanzi’s superior, Vice questore Ruini (Arthur Kennedy), prefers justice to be served up in the time honoured manner – by the book and following the codes of conduct.

Following a lead Tanzi brings in Vincenzo Moretto (Tomas Milian) a hunchbacked slaughterhouse worker who has more than few crooked business sidelines. Sitting him in a darkened room, with only a lamp on his face, Tanzi takes the official interrogation procedures and throws them in the bin, resulting in Morreto being hospitalised and Tanzi up before his boss. Taking a dressing down and being told that Morreto will be released without charge incenses Tanzi. Adding insult to injury Ruini also demotes him to an office job. Officially off the streets Tanzi uses his spare time to carry on his investigations into Morreto and the links he may have to Tony (Ivan Rassimov), a drug dealer who’s keeping a missing girl strung out on smack up in his apartment…

Director Umberto Lenzi delivers a fast paced rollercoaster ride of a movie, expertly filmed by cinematographer Federico Zanni – a veteran of over 50 movies for a diverse range of Directors such as Lenzi, Sergio Martino, Stelvio Massi and Marino Girolami – and featuring one of the classic Polizieschi scores by Maestro Franco Micalizzi. As soon as the opening credits start with the POV shot from inside the car as it drives down through Rome’s city centre, that oh-so-familiar music kicks in and you just know you’re in for a treat. With no real major plot to focus on Lenzi instead whisks the viewer from one mini adventure to the next and when all else fails stages a random crime so that Tanzi can show up at just the right moment, slap the perpetrator around a bit before handing him over to the uniformed police who arrive out of nowhere in the olive green Alfas. It defies logic but it does so in a good way, you have after all just seen a man take four or five huge open handed slaps across the face as punishment for stealing a ladies handbag. It no longer matters if the scenario is logical, what matters is that justice has been served and the guilty have been punished!

This would be the first of two outings for Tomas Milian in the role of ‘Il Gobbo’–the second being Lenzi’s LA BANDA DEL GOBBO (1978)–a character created by screenwriter Dardano Sacchetti in reference to Giuseppe Albano the original ‘Il Gobbo del Quarticciolo’; a real life character who lived in Rome during the Nazi occupation in the 1940’s.  A member of the resistance during the occupation he went on to become a local ‘Robin Hood’ character after the Nazi’s were overthrown. Albano’s story was made into a feature film ‘Il Gobbo’ directed by Carlo Lizzani in 1960, and starring French born actor Gérard Blain in the title role.

Milian is just superb in the role and displays a range of emotions that see him at turns being fragile and pathetic—he truly gains the viewers sympathy when he’s being beaten by the police–the next he’s cold and calculating, ruthless and utterly insane; a marvellous performance and surely one of his most memorable roles.

Maurizio Merli also plays a character–that of tough, takes no bullshit, cop Leonardo Tanzi–who would be seen again in Lenzi’s 1977 film, IL CINICO, L’INFAME, IL VIOLENTO (THE CYNIC, THE RAT AND THE FIST) though albeit in a more calm and composed frame of mind than he is in this film. At times looking like he’s going to literally explode with rage, Merli pulls out all the stops in bringing to life a cop who’s just run completely out of patience. With a justice system that is constantly letting the honest man on the street down he takes it upon himself to “get back to the old ways” and fight fire with fire. A clichéd plot device for sure, but it keeps the film barrelling along and there’s nothing at all wrong with that.

This latest DVD from New Entertainment World is an upgrade of their previous release which had no English options. Happily for us fans, this limited edition re-release features English, German and Italian audio plus optional English and German subtitles. The transfer is truly a thing of beauty, identical to the NoShame Italy DVD released a few years ago, and perfectly framed in its 2.35:1 ratio, with 16:9 enhancement. It’s doubtful that this film could look any better than it does on this DVD. The English audio doesn’t fare so well as it’s obviously sourced from VHS which in turn sounds like it was sourced from a well used theatrical print. It’s serviceable though and is better than not having an English audio option at all. The Italian audio is pretty much pristine barring a handful of instances where the audio wows for a second or two–think what it sounds like when you momentarily touch a vinyl record while it’s playing on a turntable and your more or less there–these same audio flaws are present on the NoShame release so must be a problem with the master used and not something to blame on NEW. The English subtitles follow the Italian audio track and are not simply copied from the English dub verbatim, a very welcome addition and viewing the film in Italian with subtitles is absolutely the only way to watch this film. Extra features consist of the Italian language theatrical trailer, a trailer show for other titles in the NEW catalogue, an essay about the film in German and PC accessible Tiff files of German poster art and lobby cards for the German theatrical release under the title ‘DIE VIPER’.

ROMA A MANO ARMATA is almost the quintessential ‘Polizieschi’ movie, it has all the ingredients necessary – Alfa Romeo cars, stereotypical bad guys, angry ‘beat the system’ cops and lashings of over the top violence. All packaged together on what is so far the definitive DVD release of this film for the English speaking fan of ‘Poliziesco all’Italiana’. You can’t really ask for much more.

(Jonny Redman)

Inside scoop on Lenzi extras

Forum member Django Li has confirmed that the forthcoming FilmArt releases of Umberto Lenzi’s poliziotteschi classics THE CYNIC, THE RAT AND THE FIST and BROTHERS TILL WE DIE will include newly commissioned interviews with the director as well as Sal Borghese, Henry Silva and composer Franco Micalizzi.

The fledgling German DVD distributor has yet to set a date for either  title but their debut will mark the first time that the films have been given an official, English-friendly DVD release.

THE CYNIC, THE RAT AND THE FIST (Il cinico, l’infame, il violento) is top tier Italian crime, featuring the unbeatable triptych of Maurizio Merli, Tomas Milian and John Saxon. BROTHERS TILL WE DIE (La banda del gobbo), co-written by Milian and director Lenzi, sees the actor take on the dual role of two brothers opposite Henry Silva.