Italian Crime Filmography, 1968-1980
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In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
effective as the robotic gunslinger he played in Westworld (1973), Marciani is yet plagued by a subterranean romanticism, as can be seen in the subplot that involves Barbara Bouchet, which culminates in a scene where the woman pretends to make love with Peter to fool the cops that are staking out her place, while Marciani leaves to perform his last and fatal hit. Furthermore, the hitman is not only doomed to settle scores with his traumatic past, but also with a cupio dissolvi that manifests
achieve the desired effect. Besides Brigitte Skay, whose fame as a sex star was rapidly declining just a few years after Bruno Corbucci’s Ms. Stiletto (1968) and Mario Bava’s Bay of Blood (1971), the only other relatively familiar face for film buffs is that of Pietro Brambilla, who played the retarded altar boy Lidio in Pupi Avati’s Gothic masterpiece The House with the Laughing Windows (1976). San Babila 8 P.M. was released just before another violent crime which involved the “Sanbabilini,” the
and the others are betrayed by Regnier, who forces them to give him half of the money. Rino swears revenge, but his adversary starts eliminating his accomplices one by one. Regnier murders Franco and tries to do the same with Bruno, but Rino shows up unexpectedly and kills him. When he is about to escape on a motorboat with Rigani’s widow Mayde, though, Quintero is surrounded by the police and killed in the ensuing shoot-out. Halfway between Bandits in Rome’s spectacular genre mechanism and
that, after reading this book, the casual reader has developed not just an interest in the crime genre, but also a deeper understanding of Italian post–World War II history and costume. The information provided throughout the text is the result of a thorough research from a variety of sources such as academic texts and essays on Italian history and other assorted material—interviews with filmmakers and actors, newspaper reviews, original scripts—which is listed in the bibliography. Finally, I
approached by Don Ciccio’s thugs: if he drives a getaway vehicle for a bank heist, Marina can go free. The job is carried out but Don Ciccio goes back on the deal and forces Pino to do more “jobs” for him by threatening to kill Marina if he refuses. Things turn from bad to worse when Pino’s other cousin Teresa is kidnapped by Don Ciccio’s right-hand man Domino. With the slimy crime lord now demanding that Pino deliver a van load of drugs disguised as artificial flowers, the young Sicilian is once