LIVE LIKE A COP DIE LIKE A MAN (1976) BY RUGGERO DEODATO

Reviews

Alternative Titles: Uomini si nasce poliziotto so muore; Brigada anticrimen; Het recht in eigenhand; The Terminators
Director: Ruggero Deodato
Writer: Fernando Di Leo
Year: 1976
Starring: Marc Porel, Ray Lovelock, Adolfo Celi, Franco Citti, Silvia Dionisio

Synopsis:
Fred and Tony are members of an elite ‘special squad’ of undercover police in Rome, Italy which thrive on living dangerously with their license-to-kill.

Review:
LIVE LIKE A COP, DIE LIKE A MAN comes from a story by Alberto Marras (MEET HIM AND DIE), Vincenzo Salviani (THE DEVILS HONEY) and genre legend Fernando Di Leo (MILANO CALIBRO 9; THE BOSS) while it is directed by the notorious Ruggero Deodato (CANNIBAL HOLOCAUST; CUT AND RUN; PHANTOM OF DEATH; THE WASHING MACHINE) so for any first time viewer it is understandable that expectations are high for this quasi-buddy cop movie.

Therefore it is almost an anti-climax when it starts with a subdued opening as Fred (Marc Porel – DON’T TORTURE A DUCKLING; THE PSYCHIC; THE SISTER OF URSULA) and Tony (Ray Lovelock – OASIS OF FEAR; THE LIVING DEAD AT THE MANCHESTER MORGUE; VIOLENT ROME; MURDER ROCK) cruise the streets together sharing one motorcycle while a song that could be on almost any light drama plays through. Interestingly it was star Ray Lovelock singing this track, titled Maggie. These opening minutes of LIVE LIKE A COP, DIE LIKE A MAN are certainly quite misleading but do serve to mark out the relationship between our two leads as intimate with their emotional bond represented by their literal physical proximity.

As the song plays out, it overtaken by the roar of the bike engine and the action begins; a handbag is snatched by a couple of thieves on a motorbike…well almost as the poor female victim had just left the bank and had her bag handcuffed to herself for security with the result being a botched and brutal robbery attempt. These sorts of crimes are presented as a common occurrence in Italian crime films of the decade, and certainly the country struggled with criminal violence throughout this period – rather worryingly motorcycle led crime is seemingly resurgent in cities such as London now due to the flexibility and quick getaway opportunities the smaller vehicles provide.

Rather unfortunately for our young thugs all of this action takes place right in front of Fred and Tony, still yet not identified to the viewer as law enforcement, leading to a ridiculous wheelie, the commandeering of a(nother) motorcycle – after all our heroes cannot share one for a chase can they – and the start of what can only described as a frantic, exhilarating chase complete with quick cuts, POV shots and tight editing.

In fact with something this good you almost don’t want it to end and seemingly neither did director Ruggero Deodato as the sequence becomes almost all encompassing showing us not just the successful weaving in-and-out of traffic but also an error or two, in one case resulting in the patio of a café getting trashed. By the end of this sequence the focus has shifted away from the criminals’ behaviour and become more about the amoral attitude of our supposed law enforcement, something that is tackled verbally by the Police Captain later, who seems unconcerned about the lack of due process. In his mind seemingly the unquestionable authority of the law and the resultant actions are clearly necessary so that wider society can flourish.

While most of the brutal justice at the hands of a lead characters in Poliziotteschi are due to them being failed by the legal system and their superiors (pretty much any Maurizio Merli character for instance falls into this group) here our officers methods are actually condoned by their superiors if not necessarily endorsed although admittedly this tolerance is pushed to the limit. Even so it makes for a rather unsettling situation especially in comparison to films such as THE CONFORMIST by Bernardo Bertolucci and INVESTIGATION OF A CITIZEN ABOVE SUSPICION by Elio Petri earlier in the decade that show that what civil repression and unchecked power can do when exploited and abused by those in authority.

As LIVE LIKE A COP, DIE LIKE A MAN plays out however this would be just one aspect of Fred and Marc’s character traits that are certainly at odds with ideas of freedom, equality and due process. With these films from a bygone era it is easy to either view attitudes from a modern rather than contemporary perspective but similarly it is easy to dismiss clearly unacceptable behaviour as being simply how things were.

The argument that it was a different time and therefore cannot be judged by today’s standards is one to take note of but in more recent times it has been bandied around in relation to reports often of a sexual nature and this clearly is relevant here through the sexist and misogynistic attitude displayed by our anti-heroes.

Admittedly there is an argument in one case for the complicity of the female police secretary – although this then may lead to an off-topic discussion of implications and fear of speaking out – as they frequently beg her for sexual gratification only to be repeatedly knocked back through humour and intelligence as she proves more than a match for their advances. The same cannot be said for the sister of one of the criminals in the film, a nymphomaniac, who undergoes a rather inappropriate form of questioning…twice, later in the film.

However this opinion that we are forming of Fred and Marc is once more further complicated through the closeness of their bond and level of comfort with each other. This element lead Roberto Curti when writing in his book Italian Crime Filmography, 1968-1980 to state that “their misogynist attitude suggests a subterranean homosexual complicity” and this is certainly an opinion I subscribe to, at least to a certain extent.

Their overtly macho posturing and attitude is betrayed by their bond of brotherhood although whether this is sexual, which I would argue not, there is a case to be made for it on an emotional level blurring the lines in how far this platonic love goes.

As a viewer we quickly come to the realisation that Fred and Tony are arrogant and semi-obnoxious, while it is hard to tell if they mean well or get a kick out of their legalised macho bullshit, although from the dialogue in the film it does seem the latter. But when their colleague is gunned down outside of their office, complete with a death fall that has to be in contention for the world’s slowest, they have an added impetus to hate crime and rack up the bodies with this pivotal event helping provide the catalyst for the remaining story.

LIVE LIKE A COP, DIE LIKE A MAN is structured like so many other eurocrime films, with an underlying story arc complete with a big boss being broken up by several minor or unrelated crimes in order to build context, character, and help drive the narrative forward through action set pieces in order to maintain attention and keep focus – some of these set pieces however are delightfully over the top and exactly what you want to see in a film of this type

One thing that helps place the film in the upper echelons of the genre however is its use of clever story direction as LIVE LIKE A COP, DIE LIKE A MAN is able to subtly shift tone and feel, with for example one sequence playing out more like a heist movie yet the holistic overall feel of the film remains consistent and coherent, never once breaking the viewers belief in the world or disrupting the flow allowing for an enjoyable and often entertaining experience.

However for whatever reason the film does seem to run out of steam towards the end and while still providing a competent ending it does appear somewhat flat compared to several earlier moments.

Essentially a brutal and amoral Italian Starsky & Hutch, LIVE LIKE A COP, DIE LIKE A MAN is a decent watch and a strong entry in the genre thanks to the  hugh level of skill of all those involved both in the cast and crew. It does not shy away from character flaws, for better or worse, and interjects some genuine humour into the film allowing it to keep the viewers’ attention without the need for constant violence.

Despite all these positives it is a shame that all of the women, with the exception of Silvia Dionisio come across either as victims of violence or morally corrupt but perhaps that is the point as very few paragons of virtue exist even on the male side with those who do not indulge in excessive behaviour often complicit in enabling it.

Through researching this film it was noted that there was due to be a sequel however due to personal differences between Marc Porel and Ray Lovelock this never really got going. If this was the sole reason then it certainly would have been interesting had Al Cliver, who had just finished working on Ruggero Deodato’s WAVE OF LUST (1975), got the gig as originally mooted.

Version Reviewed:
I reviewed this off of the 88 Films blu-ray release which offers English language audio as well as Italian language with English subtitles. Extras include a trailer and stills gallery along with the now expected reversible sleeve and a neat little poster artcard.

FEAR IN THE CITY (1976) BY Giuseppe Rosati

Reviews

Alternative Titles: Paura in città, Hot Stuff, Street War, Cuerpo especial, Epikindynoi drapetes, La peur régne sir la ville
Director: Giuseppe Rosati
Writers: Giuseppe Pulieri
Year: 1976
Starring: Maurizio Merli; James Mason; Raymond Pellegrin; Silvia Dionisio

Synopsis:
The day Lettieri, a tough gangster, and his accomplices, escape from prison they start to plunder, kill and rob. Only one man might solve the affair; the suspended Captain Murri, whose violent persecution of gangsters led to more deaths than convictions but only Murri can stop these gangsters and deliver the city from fear.

Review:
Released during the height of Euro-crime cinema, FEAR IN THE CITY is a loose, unofficial sequel to director Giuseppe Rosati’s LEFT HAND OF THE LAW (1975) – both scripted by Giuseppe Pulieri, however this film sees the blonde haired star Maurizio Merli step in for Leonard Mann, who had previously held the role of the lead, Inspector Murri.

Wasting no time we are immediately thrown into the action which manages to pack in a prison break, infidelity and a lot of violence against police informers in its brief time, perfectly representing a city and a nation that has lost control.

Out of this chaos comes Inspector Murri, now looking slightly different as, but fans of the genre will be pleased to hear that he portrays the Inspector in exactly the same way as every other vigilante cop character he has ever played, typifying the no-nonsense macho vigilante cop with a social conscious and cynical view on the justice system which he is known for thanks to films such as VIOLENT NAPLES and ROME: ARMED TO THE TEETH.

If Maurizio Merli was in stereotypical form then the same can be said for FEAR IN THE CITY, which knows exactly what is expected as it contrasts the conventional yet seemingly powerless representatives of the law with the unconventional yet effective Inspector Murri. 

More than just a legalised thug, Murri is given a bit of character depth and emotional involvement which is delivered through the use of flashbacks but sadly this is as deep as it gets as Giuseppe Rosati fails to extend this to the main antagonist as we never get a true sense of the man or his underlying motives. 

Additionally a sub-thread (I daren’t say narrative plot point) is woven into the film regarding a kidnapped convict, Masoni, who was due soon for release and his ‘lady-for-hire’ niece but again this is perhaps not explored as much as it could or should be.

Despite this there is plenty of action overall, with the genuine chase sequence being very well handled as Maurizio Merli and his wigged up stunt double give chase on the back of a bike over jumps and up stairs. While the character depth not going far enough the action certain delivers. Interestingly the film also manages to succeed with its use of humour as many scenes poke fun at the genre conventions for example the ill-mannered chief of police (James Mason) categorically stating he will not have Murri in his unit at any cost only to receive a call from the Commissioner and capitulate immediately. This sense of playfulness in the plot helps to provide some balance and a contrast the more explicit action.

Overall FEAR IN THE CITY however fails to reach the heights of the genres top tier due to its failure to really add any substance to the storyline or initial set up.

The weak linear narrative explains the scene transitions but do not give any weight to the actions nor does it encourage any emotional investment on the part of the viewer which is a real shame as it has the majority of the elements to make a strong film.

Despite this though there is a lot to recommend about FEAR IN THE CITY especially as a second tier level euro crime flick. Maurizio Merli is on top judo-chopping, gun toting form while the chase sequences and shoot outs are exciting and are guaranteed to entertain fans of the genre.6

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.

THE BIG RACKET (1976) BY ENZO CASTELLARI

Reviews

Alternative Titles: Il Grande Racket; Racket; Big Violence; Forajidos 77
Director: Enzo G. Castellari
Writers: Enzo G. Castellari, Massimo De Rita, Arduino Maiuri
Year: 1976
Starring: Fabio Testi, Vincent Gardenia, Renzo Palmer

Review:
A toe tapping score introduces the film as a criminal gang terrorise a commercial neighbourhood all the while police Inspector Nico Palmieri (a strapping Fabio Testi – WHAT HAVE YOU DONE TO SOLANGE?; THE HEROIN BUSTERS; RINGS OF FEAR; CONTRABAND) watches on, waiting for his chance to pounce and bring some justice to the streets. Opening with scenes of mayhem and violence is nothing new for the genre and the film set’s itself up nicely with these opening sequences but it is not long before director Enzo Castellari’s style (and apparent love of multiple camera angles comes into play to provide something different.

After the brief introduction of Rudy (Joshua Sinclair – KEOMA), the English boss of ‘the racket’, we are treated to multiple angles of the same instance which although fails to provide any additional depth or understanding is a good excuse for some breathtaking footage as an internal catches the reaction of the Inspector as he is trapped inside his car which is repeatedly rolling 360 degrees down a hill. This scene is worth mentioning in itself not because of the usual distance shot of the car but for these cuts to an the internal camera as we see the poor Inspector turned upside repeatedly as glass shatters all around him.

Unsurprisingly hospitalised and now disillusioned with the (trope alert) impotence of the law, Palmieri seems almost beaten as he states when asked if he wants to go after the punks that did this to him “What’s the use …in 3 days they’ll be out and about again”. 

Finally however our dejected Inspector reaches that stereotypical eurocrime turning point of admitting that if the law cannot do what is required and if the ends justify the means, then he is the man to take the law into his own hands and make a difference.

Setting about his plan to bring down the mysterious English boss, Palmieri uses some dubious methods which not only result in the release of the lackeys he does manage to collar but also in some gruesome repercussions for one unlucky citizen and his family. Once again reiterating the point that the law protects the guilty and not the innocent.

These initial failed attempts see Palmieri kicked off the case, or at least that is what is said but in practice it makes no difference to the film as he ploughs on with his mission propelling the film forwards and providing a handy little plot device to eschew the procedural aspects that sometimes bog down these types of films but has enough room to allow for the justification and organizational protection (although whether this is a good thing is another debate especially when we consider the tale of repressive power in Elio Petri’s INVESTIGATION OF A CITIZEN ABOVE SUSPICION – but let’s make like this film and sidestep serious political debate) that only being a member of the police force can provide.

From here the film is pretty unrelenting in terms of action as director Enzo Castellari is pretty much given carte blanche to indulge and he certainly makes the most of the opportunity as cars are blown up and violence rife. All of this action however comes at a price as THE BIG RACKET utilises its action for two purposes; the first is to entertain, and secondly to replace the need of a subplot or character relationships as it is actually through action rather than dialogue that these instances occur, such as the ways in which we an elderly pick pocket and a champion skeet shooter are introduced. 

The introduction of the later occurs via a high octane and brutal gunfight. If the retaliation by the ‘racket’ to the earlier inconvenience caused by Palmieri and a meddling civilian was brutal, Enzo Castellari takes things up a notch for our new have-a-go hero as the tone suddenly shifts to slightly darker territory more akin to the sleazier entries in the wider genre, such as ALMOST HUMAN and RABID DOGS, and as powerful as it is the result is that it feels a little alien to the rest of the film.

Irrespective of this short lived tonal shift, a double crossing and sacking helps lead us to the formation of our vigilante squad and with the random roping in of an ex-mob hit man our motley crew go off to settle old scores in an explosive showdown.

Despite lacking the rugged looks and masculinity of contemporaries such as Franco Nero or Maurizio Merli, the athletically built Fabio Testi, fresh off a year which saw him star in the Lucio Fulci western THE FOUR OF THE APOCALYPSE and the Tonino Valerii crime drama VAI GORILLA, puts in a solid performance as Inspector Palmieri. 

If you are not familiar with his other performances then you may be forgiven for thinking that the star is a little two-dimensional, as his character lacks any form of emotional complexity or emotional engagement that would either test the actor or provide some additional depth to the narrative. However the actors loss is the films gain, with this lack of depth actually streamlining the film allowing for the momentum of the action to be maintained. 

On the subject of the cast the film also features notable performances from a strong cast including Vincent Gardenia (DEATH WISH; LITTLE SHOP OF HORRORS [remake]), the familiar face of Renzo Palmer (DANGER: DIABOLK; STREET LAW; THE CYNIC, THE RAT AND THE FIST), as well as Glauco Onorato (BLACK SABBATH; VIVA! DJANGO) and Antonio Marsina (KEOMA; THE MOUNTAIN OF THE CANNIBAL GOD; THE LAST BLOOD) amongst others.

After HIGH CRIME and STREET LAW, THE BIG RACKET is a successful return to the world of the vigilante for Enzo Castellari which is pretty close to being definitive of the genre. I say this because it makes a terrific introduction to the genre, displaying many of the hallmark tropes with its disillusioned cop, impotent justice system, well-choreographed entertaining fights and vigilante civilians standing up for justice all contributing to the mirroring of the chaotic and frequently violent Italian society of the 1970’s.

Overall however THE BIG RACKET is an entertaining watch from start to finish that promises and delivers everything a fan of the genre would want and despite not being quite up there with the best efforts of the genre it deserves to be in the collection of every fan of the genre.

Additional:
As a bit of a side note, if rumours are to be believed THE BIG RACKET represents something of an oddity for the films of Enzo Castellari and the period in general due to the way that the audio was recorded first in Italian and then dubbed into English after, as opposed to the usual method of the other way around. 

Allegedly this is because star Fabio Testi was unable to speak English. However, many directors at the time (perhaps most famously Lucio Fulci) would frequently have cast members speaking their lines in their native language because they knew that it would all be dubbed over anyway as the Italian industry rarely worked with live sound. 

Meanwhile Enzo Castellari actually comes from a family of film makers with his father, Marino Girolami, also being a director who worked on VIOLENT ROME and ZOMBIE HOLOCAUST amongst others.