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.
presumably high-level source that Calabresi had confusedly sensed a connection between the Italian Secret Service, right-wing terrorists and the CIA. See Crainz, Il paese mancato, p. 395. Smiling Maniacs (Corruzione al palazzo di giustizia) D: Marcello Aliprandi. S: based on Ugo Betti’s play; SC: Marcello Aliprandi, Gianfranco Clerici, Fernando Imbert; DOP: Gastone Di Giovanni (35mm, Eastmancolor, Cinecittà); M: Pino Donaggio, conducted by Giancarlo Gazzani (ed. Orchestralmusic); Gioia al
Puppo (Doringo), Antonio Marsina (Attorney Giovanni Giuni), Salvatore Borgese (Sgt. Salvatore Velasci), Gianluigi Loffredo [Joshua Sinclair] (Rudy, the Marseillese), Daniele Dublino (Commissioner), Anna Bellini [Anna Zinnemann] (Anna Rossetti), Edy [Edgardo] Biagetti (Chief of Police), Salvatore Billa (Fabrizi), Giovanni Bonadonna (Cuomo), Franco Borelli (Oreste Saclà), Pietro Ceccarelli (Luigi Mayer), Domenico Cianfriglia (Rudy’s henchman), Giovanni Cianfriglia (The Ox), Roberto Dell’Acqua
Oxon, Franco Beltramme (Tony’s henchman), Erigo Palombini, Salvatore Billa (Tony’s henchman), Domenico Di Costanzo (policeman), Sergio Sinceri, Paolo Manincor. Uncredited: Dolores Calò (Woman on the bus), Calogero Azzaretto (Man on bus/ policeman), Tom Felleghy (Doctor), Lina Franchi (Woman on the bus), Gilberto Galimberti (Rizzo’s sideman). PROD: Umberto and Vittorio Russo for Teleuropa International Film; GM: Mario Pellegrino; PM: Franco Vitulano; PSu: Giuseppe Auriemma; PSe: Bice Paoletti;
climax, with the result of exhausting the viewer). Fragasso, who started as a scriptwriter in the late 1970s and put his name on some of the very worst crime films made in Italy in that period (Mario Bianchi’s La banda Vallanzasca and Don’t Trust the Mafia, to name a couple) before moving on to equally bad horror films (i.e. the notorious Troll 2) tried to regain a new respectability by following La scorta’s mixture of genre trappings and civil commitment with the story of a witness in a Mafia
Cecilia (Vincenzo Affatato), Ernesto Colli (Alfredo Bertolon), Alberto Fogliani (American’s Henchman), Ettore Geri (Barman), Imelde Marani (Blonde woman, third courier), Sergio Serafini (police officer), Alessandro Tedeschi (German courier), Giorgio Trestini (Franceschino), Diomira Vidotto (Street Woman). Uncredited: Artemio Antonini (The American’s Henchman), Salvatore Billa (Gum-Chewing Henchman in Office), Angelo Boscariol (policeman), Marina Brengola (Street Woman), Sisto Brunetti