Gang War In Milan (Umberto Lenzi, 1973)
aka ‘Milano rovente’
Sicilian born Salvatore ‘Toto’ Cangemi (Antonio Sabato) is Milan’s biggest pimp and practically has the monopoly on the city’s prostitution racket. Frenchman Roger ‘The Captain’ Daverty (Phillipe Leroy) is Milan’s top importer of Heroin and Hashish and thinks that he and Salvatore would do well to go into business with each other, the idea being that the Toto’s hookers could sell Daverty’s drugs to their clients. This proposal is suggested to Toto only to be rejected outright, partly due to his reluctance to partner up with a Frenchman but mainly because Daverty had one of his best girls drowned and dumped face down in his swimming pool.
A tit for tat war starts between the Frenchman and the Sicilian. Daverty’s men pose as Policemen and round up all of Toto’s girls and ship them off in vans to a warehouse, losing the pimp a fortune in takings. In return Toto has Daverty’s car blown up. Taking things to the next level Daverty sends out his boys again, this time they beat up and hassle the ladies of the night, slashing their breasts with switchblades, throwing acid in their faces, cutting nipples, stubbing out cigarettes on their chests, stealing their hard earned cash and whipping their asses with a leather strap. This is too much for Toto and he decides to call in some back up in the form of Billy Barone, a scar faced ‘Mr. Fix it’ who promises to take care of business. Things don’t go quite to plan though and Lino (Antonio Casagrande), Toto’s right hand man, is kidnapped by Daverty. Being the gent that he is the Frenchman offers Lino a deal, help him overthrow Toto and he will let Lino take over as boss. Lino of course refuses to do this which results in him being tied to a chair with his underpants around his ankles as one of Daverty’s men tickles his balls with two pieces of sparking electrified wire. To make matters worse all of Billy Barone’s attempts to thwart Daverty end up failing and pretty soon it’s clear to Toto that the only option is to broker a deal with the Frenchman. It’s an arrangement that can surely only end in tears, the hookers start selling the smack to their clients, Toto starts making a huge amounts of money and begins to cut Daverty short on the agreed deal…
After spending the end of the 60’s and early 70’s directing Gialli such as Orgasmo (aka Paranoia) (1969), Seven Bloodstained Orchids (1971) and Knife of Ice (1972) Lenzi found himself attracted to the up-and-coming Poliziesco genre, Eyeball (1974) is proof that by the mid 70’s his mind was not focused on the Giallo genre and that same year he directed his second, and possibly his best, Crime film Almost Human (Milano Odia: la polizia non puo sparare). Lenzi had found his niche genre and began a non stop run directing almost a dozen Crime films over the course of the decade.
Milano Rovente, Umberto Lenzi’s first venture into the Poliziesco (Police/Crime) genre, however, is a mixed bag of a film; it has the requisite ingredients present in these kind of films that make them so enjoyable (Gangsters, Hookers, Drugs & Violence) but it lacks the certain something that Lenzi’s later crime films have and it’s obvious when watching Milano Rovente that the film is a ‘testing of the water’ for him and this genre. It’s hard to pinpoint what exactly that ‘certain something’ is, maybe it’s the actors, Phillipe Leroy is pretty much perfect in the role of the French drug dealer but Antonio Sabato could’ve been better, he’s acceptable enough and gives the role of a cocky, moustachioed, Sicilian, pimp plenty of character but one wonders how things might have turned out with someone like Tomas Milian in the lead role. It also doesn’t help having some of the ugliest women in Italy playing some of the prostitutes; you’d swear that some of them were really dreadful transvestites who apply their makeup with trowels.
Dagored’s DVD, whilst not the best looking or sounding disc ever, is presented in Italian language with good, but tiny, English subtitles. The source print looks to be an old theatrical print with noticeable wear throughout, especially at reel ends, with the sound not rating anything higher than ‘adequate’ which is a shame as Carlo Rustichelli delivers a cracking, jazzy, sax filled score that is begging for a decent audio mix. Still, negative points aside it’s still a pretty decent film and I’d recommend it to any fan of Umberto Lenzi, or any fan of the Poliziesco genre…