THE CYNIC, THE RAT AND THE FIST (1977) BY UMBERTO LENZI

Reviews

Alternative Titles: Il cincio, l’infame, il violento; O Cínico, O Infame, O Violento; Le cynique, l’infâme, le violent; Die Gewalt bin ich
Director: Umberto Lenzi
Writer: Ernesto Gastaldi, Dardano Sacchetti, Umberto Lenzi
Year: 1977
Starring: Maurizio Merli, John Saxon, Tomas Milian, Renzo Palmer

Synopsis:
Luigi ‘Chinaman’ Maietto bursts free from the big house and sets in motion his revenge on the man who put him there, the legendary Inspector Leonardo Tanzi. When an assassination attempt leaves Chinaman believing the heroic officer dead, Tanzi uses his new found anonymity to bring down the numerous crime organisations that are helping ruin his beloved city.

Review:
THE CYNIC, THE RAT AND THE FIST represents the return of Inspector Tanzi as moustachioed blonde Maurizio Merli reprises his role as the vigilante Inspector from ROME ARMED TO THE TEETH (aka ROMA A MANO ARMATA; THE TOUGH ONES, ASSAULT WITH A DEADLY WEAPON and BRUTAL JUSTICE in the USA).

No doubt commercially THE CYNIC, THE RAT AND THE FIST with so named as a riff off of Sergio Leone’s THE GOOD, THE BAD AND THE UGLY and it wastes no time in getting started as within ten seconds we witness a mugging. This undoubtably sets the tone for this ramped up sequel before it cuts into the by now clichéd shots of cars cruising the city as a flurry of criminal activities take place, and police cars speed around including past the iconic Milanese duomo instantly placing this film away from its predecessor.

After the opening credits we meet Tanzi, now a murder mystery novel consultant who discovers as he returns home from his surely unfulfilling job that someone has left an obituary note for marking his date of death as that very day. A bad omen for things to come. Thankfully he still possesses a gun so we know at least he will be safe…although I am certain his hands are registered weapons.

Jump to a shot of a police teleprompter and we learn of a criminal named ‘The Chinese’ who has just broken out of jail while the police inspector Astalli (played by genre regular Renzo Palmer – DANGER DIABOLIK; STREET LAW; VAI GORILLA; THE BIG RACKET and also alongside Merli in WHITE FANG TO THE RESCUE) calls in Tanzi to warn him that this criminal, who Tanzi apparently helped put away, might be looking for some payback. A hunch that we know is justified and ends up with our Inspector being dispatched…or so it seems allowing the action and characters to be transported back to Rome, even if most of them are meant to be elsewhere. With the basic plot now outlined we are free to enjoy the rest of the film and meet the rest of our cast.

With that we can say hello to our friend Tomas Milian, who plays The Chinese aka China, and he is quickly joined on screen by John Saxon, playing the American-Italian gangster Di Maggio. After a bit of fun small talk they get down to talking business…illegal business.

All of this and more has happened in just twenty minutes by  which time we have met our three main characters, how they relate to each other and witnessed just why Saxon is the top Mafioso in the city. All of this means a battle for justice, money and ultimately for vengeance is on the cards.

Tanzi’s struggle sees him once again pitted up against several hoodlums as the plot develops and ends up using almost anything available to him in his bid to bring criminal to justice including faulty wiring, stage lights, a camera which leads to a witty one-liner or even a sound board to burn a guy’s face, particularly brutal even for this film although the acid attack runs it close. As you can probably surmise there is a lot of action in this film and it is quite quickly paced with the result on our ex-Inspector becoming more and more desperate when faced against overwhelming odds, which is evidenced by the time he car jacks an innocent woman in a bid to get away from some crooks.

For all the desperation of the character however quite often Merli is in pure 70s playboy mode, the model of masculinity throughout the film even when he is hilariously traversing a corridor of laser beams, bordering on the comical as the film takes on almost a 60s spy thriller vibe thanks to the look of the ‘beams’ aka red string and the use of lighting.

On the contrary, Milian’s character China is a lot more relaxed and in control however some might argue the actor is disinterested but I would disagree although the character is a lot less repugnant than Il Gobbo in ROME ARMED TO THE TEETH and a little less unhinged which no doubt lends itself to this opposing view. Sure Milian’s performance is perhaps not as good as in the earlier film, who knows if the frustration of working with Merli boiled over resulting in the genuine bitterness on screen which was absent here but his performance as ‘The Chinaman’ is more than competent here while Saxon is his usual reliable self but it is quite clear that he only has a supporting role here.

Behind the camera things are just as good and it is apparent that even in the short time from the first Tanzi film, Gastaldi & Lenzi have increased their understanding of the genre’s constructs, its requirements and most importantly its audience. While the sporadic use of POV help ramp up the tension when necessary and shows how Lenzi has utilised all the tricks of the trade learned through his years of gialli and mystery.

Witty, violent and pure fun THE CYNIC, THE RAT AND THE FIST is a film free from all societal and institutional story restrictions and this is its greatest asset as it allows Tanzi to go straight up against China and by extension Di Maggio with the usual building vinaigrettes giving way to a longer over riding narrative broken up by almost inconsequential crime peppered about to keep the momentum going.  The benefit is the scriptwriters ably manage to combine narrative context with action seamlessly allowing for an action packed, fast paced film but also this time with a compelling story arc that elevates the film to the upper echelons of the genre.

However for those of you who have read Curti’s fantastic book, Italian Crime Filmography, 1968-1980 will find an opposing opinion to my own and so depending on your own personal approach to the genre you may wish to delve a little further into investigating this film.

Where I do agree with Curti however is in the use of the females, as often with Eurocrime films they are merely there as instruments for either the story or setting up an action set piece and here it is no different and although to judge a film by modern day sensibilities is always a dangerous thing to do it is clear who this film was aimed at and what the prevailing attitude was at the time.

Nevertheless it is an enjoyable straight forward film and if you want a bit more humour I recommend the English dub which mocks Merli’s stereotypically un-Italian blonde hair and blue eyes but whatever your audio preference grab a beer and a copy of the 88 Films version for a guaranteed fun night in.

Version Reviewed:
I watched the 2017 blu ray release from 88 Films. It’s a high-definition transfer from the original camera negative and I doubt the film has ever looked this good. Audio wise it has a restored English soundtrack, a restored Italian soundtrack and obviously English subtitles.

What’s more 88 Films have put in the effort and commissioned some extras just for this release, well perhaps not technically as some of it appears to be cut from the same source as the extra’s on the SYNDICATE SADISTS release but I’ll get to that in a minute.

The extras include eurocrime expert Mike Malloy talking about the film for just over ten minutes in an informative and humorous segment where Malloy tells of about the story happening behind the camera as well as in front of it. I’m happy to say Malloy takes to the camera like Merli to a backhanded slap and I certainly hope 88 Films use him some more…and unsurprisingly he does feature on the SYNDICATE SADISTS release as well.

Further extras include ‘Armed to the teeth again: An interview with Umberto Lenzi’ which contains a couple of revelations (such as the motivation of Milian during filming of ALMOST HUMAN) and tales covering both his own films and the animosity between Merli and Milian and the problems this caused. Although Lenzi does appear to misremember a few bits of his films this is forgivable considering the period of time that has passed and the great volume of work he has been involved with. Furthermore it is clear that this is part of a longer interview with segments taken for other releases.  In addition to this we also get ‘The cynic, the rat and the sadist: An interview with Tomas Milian’ where the actor seems to talk more about SYNDICATE SADISTS and therefore really should be on that release instead of this one. Regardless Milian is an interesting fellow to talk to and his discussion about his choice of dubbing artist, Ferruccio Amendola if you are interested, is an interesting insight into an area not often covered while he also discusses this films sequel, ROME ARMED TO THE TEETH, a release I am hoping 88 Films acquire soon.

FORM OVER CONTENT

Articles and Interviews

The hidden romanticism Lucio Fulci’s Gates of Hell trilogy

Please note that this article may contain spoilers.

The Gates of Hell trilogy of films from the Italian director Lucio Fulci defy classification to a certain extent. Sure they are horror but what type? As fans of the genre will understand, using such a broad classification is too simplistic when discussing not only our love of these films but the artistic intent and style contained within. 

By using such an umbrella term one may fail to do justice to the work and the (variety of the) genre. Consider the films of Lucio Fulci alongside the horror of Tobe Hooper (TEXAS CHAINSAW MASSACRE; POLTERGEIST), Wes Craven (A NIGHTMARE ON ELM STREET) and Alexandre Aja (HIGH TENSION; PIRANHA 3D). All of which are notably different and may appeal to slightly different audiences but yet all come under the bracket of horror.

So there is often the need to discuss and classify sub-genres but what kind of horror do the Gates of Hell films fall under? 

General consensus would place them in the filone of the zombie sub-genre however at certain points they may also incorporate the supernatural, the haunted house, the fantastical, the slasher and maybe even a little touch of the giallo. One thing however is that these three films are art.

In his book How to Read A Film, James Monaco argues that art is what you can’t specifically define and these three films certainly adhere to this. 

But ironically even the undefinable needs to be classified. I propose that these films do in fact conform to the definition of later period romanticism. That is to argue that they are art for art’s sake; in this case to elicit a sense of trepidation and fear. The same argument could be made for SUSPIRIA by Dario Argento, but that is a topic for another article.

Taking the movement of romanticism, which promoted form over content, we can see clear parallels between it and the work of Lucio Fulci covered here. Hardly surprisingly and I doubt a coincidence or mere conjecture considering that the director himself started out as an art-critic.

Throughout each film of the trilogy we are quick to realise that despite a relatively basic story that the films themselves do not directly relate to our reality, that is the world in which we live in, but rather to the relationship between the film and the artist (that is to say Lucio Fulci) and to the relationship between the film and us – the viewer.

Ever since the Ancient Greeks and their creation of drama a psychological element has been evident in performance but here it is taken to a logical, or perhaps that should be illogical, extreme wherein the emotion felt is the art and therefore is also the film. As such the three films that make up this trilogy focus on the visual and the atmospheric as opposed to plot or character development. A clear prioritisation for the makers is the focus on abstractism.

Although that is not to say the trilogy was exempt from contemporary economic demands or pressures. Those zombies are not there necessarily because they suited Lucio Fulci’s artistic vision but rather because distributors insisted that they be there and besides it was the early nineteen eighties and zombies sold. And who was he to argue with their demands considering it was their money paying for it all. Not to mention that it was arguably the zombie which gave him his biggest box office returns and may do once again.

CITY OF THE LIVING DEAD was originally proposed under the title Paura, which translates as fear in Italian, and according to Italian screenwriting legend and frequent Lucio Fulci collaborator, Dardano Sacchetti, after the success of ZOMBIE FLESH EATERS the director had realised the potential success that could be had from the horror genre and so he began reading H.P. Lovecraft, falling in love with the atmosphere of the books, in a bid to further his own journeyman career. This perhaps explains why the flesh-munching voodoo inspired ghouls from his previous film were put aside for more cranial, teleporting creatures. 

With a desire to reach critical and commercial success, a refined and well-read palette and having shown himself to have his own artistic capabilities (see A LIZARD IN A WOMAN’S SKIN for evidence) it was as if now “(Lucio) Fulci had let go of reality and embraced the fantastic…[taking] horror into a more primal subconscious place” (Eli Roth in An Introduction to The Beyond [Arrow blu-ray booklet]). 

City of the Living Dead

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Starting with CITY OF THE LIVING DEAD, a film which critics and fountains of Italian genre cinema knowledge Antonio Bruschini and Antonio Tentori state “oscillates between splatter and fantasy, visual cruelty and metaphysical poetry” (from their book Lucio Fulci: Poetry and cruelty in the movies). A brief synopsis of the film sees a reporter and a psychic traveling to Dunwich to close a gate of hell which opened due to the suicide of a priest, courtesy of a powerful and heretical opening – it all sounds rather straightforwards.

However a deep Lovecraftian influence pervades the film lending it a sense of the strange. Additionally there is further literary influence as opposed to a cinematic one, by way of the likes of Edgar Allen Poe (the rural gothic atmosphere; premature burial) and Stephen King (influence from Salem’s Lot). These influences are moulded into something that would almost define what many would think of when they think of Lucio Fulci’s body of work – surreal visual horror.

All of the Lovecraftian illogical and unpredictable horror utilised actually generates its real horror from the evil of men and their sadistic nature. This dark cynicism is a theme common in several of Lucio Fulci’s films.

In CITY OF THE LIVING DEAD perhaps this is most clearly shown in the brutal killing of Bob (as played by Giovanni Lombardo Radice). Here this act represents arguably one of the most brutal moments in the film and without a supernatural aspect in sight.

Talking of the supernatural, the séance in the opening of the film is unfortunately borderline Garth Marenghi, just take a look at the flames that occur after the first incident, but does a job in setting the tone for the rest of the movie.

Another moment from the otherworld, and one in which makes very little narrative sense, is where familiar faces Michele Soavi and Daniella Doria are sat in a car when our problematic priest reappears and disappears causing eyes to bleed, intestines being vomited up and skulls being crushed by teleporting zombies. Here the ‘why’ and the ‘how’ are irrelevant making it about the form and not the content. 

Free from the restrictive shackles of the George Romero inspired undead or even the requirement for a tight script and continuity, Lucio Fulci is able to focus more on the form. As Fangoria editor Chris Alexander is quoted in the booklet ‘Fulci of the Living Dead’ by Calum Waddell, CITY OF THE LIVING DEAD see’s “Fulci at his most uninhibited, free to jam his curious camera into the crevices of creepiness…with grandiose, abstract gore and surreal shock.”

Further support for the argument of art for art’s sake can be found in the films ambiguous ending. Like with a painting (more on that later), we the viewer are invited to overlay our own thoughts and interpretation to the piece. This is device that is repeated across the three films and the idea of the innocence of children is explored further also.

The Beyond

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A year later and THE BEYOND would continue with not only many of the same themes but also an ending that is also open to interpretation. 

Due to its focus on visual horror and supernatural themes some have compared THE BEYOND to the first two (SUSPIRIA; INFERNO) of Dario Argento’s ‘3 Mothers’ trilogy however this is slightly misleading as although there are several commonalities the key driver and execution are significantly different. 

In THE BEYOND Lucio Fulci eschews the more traditional thriller plot structure and instead fully commits to creating “an experiment in total terror” (Antonio Bruschini and Antonio Tentori). The film builds on the abstract and the surreal which again gives the director free reign to terrify us with no logical rhyme or reason. But that is ok as this almost dreamlike narrative flows like a nightmare as again the how and why is superfluous to the resulting action. 

Now THE BEYOND is the perhaps the best example of form over content, with critics such as Arnold Blumberg & Andrew Hershberger (in their book Zombiemania: 80 Movies to die for) stating that “the key to appreciating the proceedings is not to get wrapped up in the plot and instead focus on the mood.” Something that the director is on record as stating as the aim indicating a very conscious effort. Upon its release Lucio Fulci is believed to have been quoted as saying:

“People who blame The Beyond for its lack of story have not understood that it’s a film of images, which must be received without any reflection. They say it is very difficult to interpret such a film, but it is very easy to interpret a film with threads: Any idiot can understand Molinaro’s LA CAGE AUX FOLLES, or even Carpenter’s ESCAPE FROM NEW YORK, while THE BEYOND or Argento’s INFERNO are absolute films.”

THE BEYOND opens in Louisiana, 1927, as an armed mob slowly descend upon a large rural hotel. A psychic reads the book of Eibon telling us of seven gateways but it is not her that the vigilantes are interested in but an ungodly warlock, played by the distinctive Antoine Saint-John (THE KILLER MUST KILL AGAIN), who resides in room number 36.

More than a simple whipping later we jump to contemporary times as Liza (Catriona MacColl) inherits said old building and is having it renovated so that may give her a much needed fresh start. Throw in a handsome local doctor (as played by David Warbeck) and we get what initially looks like playing out as a classic gothic horror but with Italian horror sensibilities. However after an attack on Joe the friendly plumber, things begin to change. 

This act of shocking barbarity is followed immediately by a beautiful and expansive shot of an empty bridge, save for Liza travelling in her car. But in the middle of the bridge, quite literally stands a blind woman, Emily, and her canine companion. Very strange. Even more so considering Emily was stood there waiting for Eliza and we get a sense that whatever conventional narrative (in horror terms at least) that had begun to take hold was about to be twisted into something a little stranger. On a side note the arthouse film INFERNO VENEZIANO would take influence from the image on the bridge and prove to be equally out-there in terms of abstract horror.

Now after some much needed exposition, courtesy of our blind friend, we get a first look towards a barren and bleak painting, showing us more that what is just on the canvas. Such as with any painting the meaning is personal and open to interpretation. While in his review Donato Totaro states that the “painting that becomes integral to the thematic and metaphysical landscape” and I am certainly one to agree.

In THE BEYOND Lucio Fulci has shown us the materials for which we can either interpret, simply accept and be entertained or as is the case with most genre fare, to scorn and ridicule it’s lack of spoon-fed narrative. However you see it though, you cannot deny that THE BEYOND has the feeling of a film in which anything could happen and it does.

The House by the Cemetery

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It is hardly surprising that the thematic influence of Lovecraft would seep into the final entry of the trilogy, only this time it is seemingly merged with a variation of the myth of Frankenstein. Only this time the doctor and the monster are one and the same.

In the film, rationality once again takes a backseat and rather than mull over lines such as “You really should take those pills your baker prescribed” we should instead accept and appreciate that it plays out almost in a dream-like state where brutal random violence is juxtaposed with childlike innocence by way of situations that assault our senses.

Much like CITY OF THE LIVING DEAD the film is a mesh of several strands of horror; the slasher, the giallo, the supernatural and the haunted house movie. Because of this THE HOUSE BY THE CEMETERY is the hardest film of the three to rationalise in terms of a (neo)romaticism angle, as it could just as easily be argued for as a disjointed and incomplete mess as it could a poem of childhood anxiety and fear. 

For those unfamiliar with the film the basic storyline focuses on Dr. Norman Boyle (Paolo Malco) and his family, rounded off by Catriona MacCall as the wife and Giovanni Frezza as the oddly voiced son, who relocate to the rural town of New Whitby (a Bram Stoker reference perhaps?) so that he may continue on the research of his recently departed mentor. Oh did I forget to mention that the research was on suicide and the late mentor had also committed suicide – the ill omens are all there. While discussing strange coincidences this is a second pivotal character in the trilogy named Bob. 

From the very beginning Lucio Fulci lays his cards out on the table for all to see, indeed even before the opening titles, a female victim (played by the ever suffering Daniela Doria) is brutally murdered. If anyone had wondered what type of film they were about to watch they did not have long to wait in order to find out. 

Interestingly throughout the film the script drops what may be seen as a few clues as to both the absurd nature of the proceedings and also the underlying objective and direction of the film. Examples of this include when the babysitter (Ania Pieroni) is cleaning up a large pool of blood on the kitchen floor and is questioned about it by the lady of the house, Lucy. Rather than answer she simply states that some coffee is in the pot and this random bit of information placates Lucy who simply forgets about the unexplained spillage. Although this is perhaps also explained by the previously mentioned line regarding Lucy Boyle’s pills (as prescribed by her baker) in order to supress her hallucinations, leading us to question is any of this real? After all Bob is a bit too odd but he seemingly isn’t the only one. 

Talking of odd, a member of the local community while speaking to the Dr suggests that he had visited the town previously only that time with his daughter. While it is very possible that the citizen had heard but not seen Bob and just assumed it was a girl this is very unlikely. However just as these points are raised quite often they are ignored although both do hint at another reality so to speak, one in which the young girl May exists in, only whether this is genuinely real or a figment of someone’s imagination is never made clear. 

Supernatural aside, and there are several ethereal moments, arguments of the neo-romanticism influence on the film can be made rather interestingly through the use of the ugly. Ugly in the terms of the gratuitous violence that is employed. Not only through the framing (credit to Sergio Salvati here) but also in the way that THE HOUSE BY THE CEMETERY makes the viewer feel like a helpless voyeur during the carnage as the director elects to revel in the violence. Instead of shying away from the action we are actually invited in for a closer, longer look and just like those visiting the grand guignol shows of Paris we love it. We are captivated by it and it draws us in. Check out the death of the Estate Agent for some prime action.

For fans of horror THE HOUSE BY THE CEMETERY is a must watch. It is a film built on many things including the creation of suspense, the mystery of the murderer and perhaps most of all, the visceral thrills of the violence. In short it is about eliciting and heightening a select group of emotions through its visual medium.

While watching the film viewers will have many questions, including the symbolism at the end as Bob emerges from the tomb that is located in the front room.

What does this all mean? After all he is too young to be ‘born again’ but is it even representative of a birth of anything? Meanwhile his ghostly friend May does not seem too bothered about the final confrontation that Bob had just been a party to but then again neither does Bob despite both parents fates…as he has seemingly travelled back in time without a care in the world. 

A singular vision

The Gates of Hell trilogy are three films brought together by a singular idea; to create emotive horror free from the logical constraints of a traditional narrative. Incorporating a Lovecraftian influence, as Jamie Russell would say in his book “Book of the Dead”, Lucio Fulci and Dardano Sacchetti “set out to create …radical, avant-garde gore movies” and to an extent this is an accurate take.

As all three films reject conventional and traditional film structures instead focusing on “just a succession of images” (Lucio Fulci in a printed interview with Starburst Magazine) that are interested in exploring personal fears and anxieties. 

Indeed the Tate Gallery define Romanticism as a “movement in art and literature distinguished by a new interest in human psychology, expression of personal feeling and interest in the natural world” which Neo-Romanticism builds upon to overlay the more abstract. In which it is the message and not the content that matters. 

Clearly as evidenced by the men involved these three films are built on abstract literary sources and were created for a specific form of expression and feeling in which we, the viewer, are then invited to impose our own interpretations upon.

So it is not surprising when people talk about the poetry of Lucio Fulci’s films, or when some of them are are described as “delirious, dreamy and often demented” (Calum Waddell in his booklet ‘Freudstein Revisited’ for Arrow films) because like a dream many scenes and sequences have no logical starting point or arc to help feed into the narrative but instead jump from action point to action point. Thankfully however Dardano Sacchetti never forgets to throw in some exposition so that we have some context and to aid the flow of images.

The deeper level of artistic endeavour employed adds weight to the argument that Lucio Fulci is, as many of us would already believe, a creative artist and not merely a workmanlike artisan or even a hack as some would have you believe and that the Gates of Hell trilogy stand up as a collective yet singular piece of art.

These films therefore in my mind are akin to an artist’s collection, which we as fans have dubbed the ‘Gates of Hell’ trilogy, held together by a common concept and artistic execution. Like individual paintings each film can be enjoyed on its own and viewing of the whole collection is not necessarily detrimental or mandatory but when viewed together Lucio Fulci’s vision can be best understood. Whether or not it was his original vision is another matter.

And remember…Fulci lives!

ROME ARMED TO THE TEETH (1976) BY UMBERTO LENZI

Reviews

Alternative Titles: Roma A Mano Armato; The Tough Ones; Roma Armada; Roma a mano armada; Brigade special; Assault with a Deadly Weapon; Brutal Justice; Die Viper
Director: Umberto Lenzi
Writer: Dardano Sacchetti
Year: 1976
Starring: Maurizio Merli, Arthur Kennedy, Giampiero Albertini, Tomas Milian, Ivan Rassimov

Synopsis:
A tough, violent vigilante cop makes it his mission to bring to justice a machine-gun-carrying, hunchback killer by any means necessary.

Review:
The first of two Inspector Tanzi films (THE CYNIC, THE RAT AND THE FIST would follow the subsequent year with stars Maurizio Merli and Tomas Milian rekindling their bromance), ROME ARMED TO THE TEETH kicks off in traditional genre style – with an in-car camera sequence allowing us to cruise the streets and case the local banks while bobbing our heads to a nice little score courtesy of Franco Micalizzi.

We quickly meet our hero, Inspector Tanzi (Maurizio Merli) who is tipped off about a gambling den which he promptly raids with all the usual charm and violence of the archetypal Maurizio Merli character. Keep an eye out for the hapless guy who answers the door and is suddenly thrown to the floor by the entering Tanzi. Rather than being pissed off he picks himself up and casually strolls across to the bar for a J&B.

Annoyed that the bust didn’t yield any significant collars barring one known thug,  Tanzi doesn’t have to wait long before getting a second chance to dispense some justice. As lucky would have it while being sat in his car waiting, he witnesses a motorbike mugging by a couple of criminals. Determined not to let these crooks slip through his fingers he sets off in pursuit only to realise right before dishing out another ass kicking that they are just kids.

These action set pieces however are just a prelude to the adult violence that would follow, including a brutal robbery that personally affects Tanzi. This sequence not only provides the motivation for Tanzi to increase his efforts but also is used as a plot device by Dardano Sacchetti to highlight the impotence of the Italian justice system, thus working this genre trope in relatively early.

By now the Inspector has shown himself to be the stereotypical vigilante cop, one who sees the police methods he is duty bound to adhere to as actually being restrictive putting the whole force at a disadvantage when compared to ironically liberalised criminals they are up against.

Such is Tanzi’s disillusionment with the system that after a violent robbery occurs resulting in the death of a guard, when a colleague states that “we shouldn’t have let him go the other day” referring to an unrepentant and repeat criminal, a clearly irritated Tanzi replies “Don’t be silly. A cops been murdered but we went by the book that day. That’s what’s important.” Hmm as a viewer we doubt that he is being sincere.

In ROME ARMED TO THE TEETH director Umberto Lenzi and writer Dardano Sacchetti don’t just deliver the expected goods but have a knack for adding just that bit more to differentiate their films as interestingly for this type of movie, Tanzi has a permanent girlfriend, Anna (Maria Rosaria Omaggio – who went on to star with Tomas Milian in COP IN BLUE JEANS as well as NIGHTMARE CITY and BLOODY SIN), a youth offender psychologist who acts as the sympathetic voice of redemption and rehabilitation to his more hardline, uncompromising, black and white, dare we even say intolerant approach to justice. This differing ideology is in fact the cause of much friction between the two, further exacerbated by the plight of the aforementioned two juvenile offenders. Although immediately after the most extreme bout of these discussions the film presents his methods as paradoxically the safest solution for those setting out on a criminal path.

“I’m talking about two young boys dead by excess of humanity”

This could easily be a throwaway line in a film that appears to prioritise action over genuine social commentary. But through not only the idealistic sparring but also the seemingly minor conversations between Tanzi, the Chief and their peers, it appears that Dardano Sacchetti might actually have something to say about the methods of Italian justice of the time.

And bizarrely it is something that resonates with us today. Becoming particularly relevant in the context of the witnessed shifts in voter trends across Western and Central Europe as well as the arguments around the liberal elite, political correctness and the rise of the right – enabled by the impotence or perhaps over compassion of the left.

Almost ironically however Tanzi, through his police state brutality and repression of rights represents the defender of citizens’ freedom and safety. This is a theme that was prevalent in several high profile Italian films of the early seventies and clearly tapped into the feeling at the time, be it for or, in most cases against the status quo be it governmental or economical.

Back to the film and Tanzi’s partner Anna; through her no doubt justifiable arguments for reform and second chances she states that “prison makes them all delinquent”. A clear attempt to justify one sides argument that the contemporary methods were not suitable but rather trapping those caught into a self-perpetuating, dangerous cycle. 

Again parallels could be drawn to our modern times, especially in the UK where the effectiveness of reform is being investigated, albeit for economical rather than humanitarian reasons.

All of this happens in next to no time as Umberto Lenzi has covered all of this within the first seventeen minutes, and all before we even first meet Tomas Milian (it’s an even longer wait for you Ivan Rassimov fans) who plays Moretto. 

A seemingly pitiful hunchback on the periphery of the criminal underworld and unfairly framed by Tanzi in their first encounter. In fact Tanzi appears to go too far here and Moretto is driven to desperation in his bid for revenge. An act that has significant consequences for the Inspector, both personally and professionally. 

But what about Ivan Rassimov? He hasn’t been forgotten and finally makes an appearance halfway through the movie as an abusive boyfriend who is keeping his young girlfriend dependent on drugs. Unfortunately for him however the girl is the sister of Tanzi’s fallen colleague giving him a feeling of responsibility to set things right.

Now to keep momentum going there unfortunately isn’t room in the story for two key villains and as a result Ivan Rassimov is given a surprisingly small part for an actor of his standing but does excel in the limited time he has. 

This smaller than expected role is almost forced by the construction of the films in the genre. It also has the added effect of meaning that it takes a while for the Tomas Milian character Moretto to actually develop, but the wait is not only worth it but additionally helps to frame the character subsequent actions in a wider context.

Tomas Milian’s character gets pushed further and further and we begin to a transformation from Moretto the outcast to Il Gobbo, where his mental state and compassion soon begin to mimic his physical appearance, at least in regards to the attitudes of the time. 

And by the final act he has completed his transformation in the machine-gun welding madman that indiscriminately hurts anyone who stands in his way of self-gratification and money. 

A couple of the storylines that make up ROME ARMED TO THE TEETH eventually dovetail (with the others merely included for narrative momentum or potentially to flesh out the run time) leading to a final confrontation and bizarrely a motivational switch between our Inspector and his right hand man. Although once again Tanzi’s initial thoughts on justice are ultimately reinforced. 

It is a shame however that despite this, the actual end of the film is a little lackluster especially when compared to the rest of the films actions and it’s contemporaries.

While arguably Dardano Sacchetti tries to weave too many elements into the story, and despite being wrapped up I feel the film never had the resolution it was meant to, and is in fact rather forgettable compared to the previous action. 

Umberto Lenzi’s first film in the Tanzi series is less political or social in focus than many of its peers and while the Inspector suffers from the genre clichés of being frustrated by the impotence of the law, something explicitly stated via dialogue, I would argue that this focus is not a  key objective of the film which prefers to prioritise frequent bouts of action.

The film also works in a few moments of humour such as the chief of police suddenly remembering at midnight it’s his 22nd wedding anniversary and demanding a sergeant gets him a dozen red roses immediately or one of several wisecracks made by Tanzi or Moretto. This element does help to break up the film allowing the viewer to remain engaged.

Now it has been stated by other sources that Umberto Lenzi, and some of his films by extension, had fascist leanings and while the story does lean more to the centre-right suggesting anything more would be a gross overstatement especially when we consider that other characters provide a genuine balance to the issues both in their interactions and their own minds. And while Dardano Sacchetti would write the script it was from a collaborative story with Umberto Lenzi and so we have to allow the man some credit for this balance there, even if the authoritarian side always wins…but if it didn’t then we would be left with a poor excuse for an action film.

Combining strong camera work with terrific editing, which accentuates the action due to the choice of cut timings being spot on, it is a shame that the anti-climactic ending somewhat dampens the final thoughts of the film, but ROME ARMED TO THE TEETH is despite this, guaranteed to entertain fans of the genre both new and old.

My only other minor gripe would be with one sequence which appears a little more sadistic than the others and therefore a little out of place but it passes quickly and normal ass-kicking Maurizio Merli action is resumed.

If you do check this film out and it floats your boat make sure you also watch the sequel THE CYNIC, THE RAT AND THE FIST as well as the quite conceptually similar Betti films (VIOLENT ROME, VIOLENT NAPLES, A SPECIAL COP IN ACTION) which sometimes share actors, directors and in the terms of the last of the trilogy almost the same title.

On a side note Umberto Lenzi and Tomas Milian would almost reprise the character of the hunchback in the unrelated 1978 film ‘LA BANDA DEL GOBBO’ with ‘gobbo’ being the italian word for ‘hunchback’. And be on the look out for the US release under THE TOUGH ONES in which several establishing shots have been allegedly changed in order to port the action from Italy to the US.