Poliziotti violenti

This is not a great movie. Director Michelle Massimo Taranti was very much a hack, and moreover a hack who usually specialized in comedy. Lead actor Henry Silva, on the other hand, was best playing either villains or VERY morally ambiguous anti-heroes (like the brutal gangsters he portrayed in "Cry of a Prostitute" and "The Boss"). Here though he's an annoyingly straight-arrow parachute major who has been sidelined from the army after he filed a report about defective parachutes. He comes to the city and decides to wage a one-man war on crime and corruption after he realizes organized bands of criminals seem to be getting their hands on military weapons. He is helped by a macho but possibly homosexual cop (Antonio Sabato). With the exception of a downbeat ending (and the homosexual subtext), this is way too much like an 80's era American police thriller (a genre which I personally hate).

This movie does have some good points. The pure stupidity of the plot is at times pretty entertaining. Silva ALWAYS seems to be where the action is. At one point he thwarts a kidnapping, but nearly barbecues the victim after running the kidnapper's car off the road. Then he knocks a would-be mugger off his scooter bike and the poor guy is set upon by a pack of vengeful senior citizens who beat him mercilessly with their canes in a truly surreal scene. The whole homosexual subtext is also interesting, especially when Sabato's character takes Silva's character into a transvestite bar and goes in the back room to "pump an informant" (actually he slaps the transvestite around, but for all our straight-laced hero knows. . .). I don't mean to imply, however, that this is really a gay movie. Silva, at least, has a love interest played by the sexy Silvia Dionisio. And Dionisio gets naked twice, not in particularly erotic scenes (in the first one she's being assaulted by goons), but a movie with Silvia Dionisio getting naked is ALWAYS better than a movie without Silvia Dionisio getting naked.

All in all, this is a pretty mixed bag. It's not great, but it's not totally worthless either.

Henry Silva plays a Army Major who teams up with a tough cop (sabato) to investigate of a series of crimes that used a army issued machine gun. Lots of car chase, and action centers in a standard Italian action film. Silva, who isn't dubbed is good as usual and Sabato is a little more low key than his usual performance. Recommended.

"Poliziotti Violenti" aka. "Crimebusters" (1976) is a decent enough, though in no way outstanding example for the Italian Poliziottesco, which mainly profits from the great Henry Silva in one of the two leading roles. The ultimate bad-ass Silva, doubtlessly one of the greatest 70s cult-cinema actors, particularly in the Poliziotteschi-genre, starred in two of the all-time greatest Italian Crime flicks, Fernando Di Leo's "Il Boss" (1973) and Umberto Lenzi's "Milano Odia: La Polizia Non Può Sparare" ("Almost Human", 1974); "Poliziotti Violenti" sadly cannot compete with the greatness of these aforementioned films, and yet it is an entertaining film that is well worth watching for my fellow fans of Italian cult-cinema. It must be said, of course, that director Michele Massimo Tarantini, who is probably most famous for the Cannibal-flick "Nudo e Selvaggio" ("Cannibal Ferox 2", 1985) isn't as accomplished a filmmaker as the brilliant genre-icons Di Leo and Lenzi; yet he made an action-packed, bad-ass and, which is most important, fast-paced and entertaining film here.

Silva plays the tough Army major Altieri, who teams up with the hard-boiled cop Tosi (played by regular leading man Antonio Sabato) in order to crush a gang of arms-dealers and corrupt officials... The storyline is pretty standard stuff, with little originality and few surprises. It is well-executed however. The action-scenes and cinematography are well done, and the score is cool (though, again, nothing special for the high Poliziotteschi standards). The stone-faced Henry Silva is fantastic and super-tough in his role as always. Antonio Sabato also fits very well in the other lead of the tough cop here. Sabato starred in numerous Poliziotteschi including Umberto Lenzi's "Milano Rovente", and he arguably had his finest hour in Lenzi's fantastic Giallo "Sette Orchidee Macchiate Di Rosso" ("Seven Blood-Stained Orchids", 1972); he once again delivers in this one, though it is, of course, Henry Silva who steals the show. Regular Italian genre-beauty Silvia Dionisio ("Nude Si Muore", "Blood For Dracula", "Paura In Citta", "Murder Obsession",...) makes a pretty and likable female lead. The film is full of violent action, though not particularly brutal for genre-standards. Overall, "Poliziotti Violenti" is gritty enough and well worth watching for my fellow Italo-Crime fans, though there is a lot in the field that is far more recommendable (such as all films by Fernando Di Leo, Umberto Lenzi, Damiano Damiani and Enzo Castellari, for starters). What I did find surprising about this film, though, is how often the good guys' negligence basically causes the bad guys to kill innocent bystanders. Overall, "Poliziotti Violenti" is certainly no genre-masterpiece, but it's still an entertaining film for Italian cult-cinema fans.

Admittedly "Poliziotti Violenti" won't ever get listed in any "top 10 greatest Poliziotesschi" rankings (or top 20, for that matter) but nevertheless I'm still awarding it with a generous rating 7/10, simply because it plentifully features all the things that I seek and love about this genre! For starters, the film doesn't star one but two heroic macho protagonists. The stoic-faced Henry Silva and the groovy Antonio Sabato form a surprisingly good duo, especially when they're ravaging the city on borrowed motorcycles or visiting sleazy transvestite clubs! Furthermore is "Poliziotti Violenti" low on complex plot twists and overlong dialogues, but rich on virulent shootouts, ruinous chases and gratuitous violence. Silva stars as a fanatic military major who gets transferred to a desk job after bringing too many sensitive army issues to the surface. One day, he prevents a kidnapping on the street from happening and notices that the hoodlums were using machine guns of which he knows for certain they are only intended for military usage. Since his own supervisors are corrupt as hell, Silva teams up with unorthodox police inspector Sabato in order to find out who's supplying deadly guns to street gangs. "Poliziotti Violenti" contains a few very ingenious scenes, for example how to rob a jewelry store with an ambulance, as well as some perplexing moments like senior citizens beating a purse- snatcher to pulp! In spite of the astounding Silvio Dionisio appearing topless a few times, the number one reason why I'll remember "Poliziotti Violenti" is because of the excessively brutal collateral damage. Italian directors are notorious for butchering random bystanders in their movies, but this one goes quite far. Dozens of innocent people are gunned down in drive-by shootings or even savagely run over by cars. The bad guys even blow up an entire restaurant in an attempt to eliminate our two heroes (but naturally kill everybody in the restaurant except them)

When para Paolo Altieri (Henry Silva) brings up the awkward matter of defective chutes that have claimed two lives, he is given a promotion to major and a comfy office job in the city, where he can be less of a bother to his superiors. But trouble seems to follow Altieri, and, after foiling a kidnapping, he finds himself targeted by a gang of criminals armed with military issue machine guns—weapons that have only ever been supplied to his old unit. Teaming up with tough cop Paolo Tosi (Antonio Sabato), Altieri tries to find out who is supplying the gang with the guns, but in doing so puts the life of his girlfriend Anna (Silvia Dionisio) on the line.

Poliziotti violenti is a fairly routine poliziotesschi, meaning that it delivers lots of noisy shoot outs (innocent bystanders caught in the crossfire, with excessive use of bright red squibs!), fist fights, car and motorbike chases (with stacks of crates being knocked in all directions), and general acts of violence, plus a smattering of gratuitous nudity, the lovely Dioniso baring her boobs for a couple of scenes. All of this is set to a wonderfully funky '70s soundtrack. Unfortunately, the unexceptional story, which primarily serves to deliver the regular bouts of action, is far from gripping, while Michele Massimo Tarantini's direction is lacking in style, making this particular thriller rather a forgettable affair, at least until the surprisingly downbeat ending.