| Riccardo Cucciolla | ... | Riccardo | |
| Don Backy | ... | Bisturi (Blade) (as Aldo Caponi) | |
| Lea Lander | ... | Maria | |
| Maurice Poli | ... | Dottore | |
| George Eastman | ... | Trentadue (Thirtytwo) (as Luigi Montefiori) | |
| Maria Fabbri | ... | Maria Sbravati | |
| Erika Dario | ... | Marisa | |
| Luigi Antonio Guerra | ... | Employee (as Luigi Guerra) | |
| Francesco Ferrini | ... | Gas Station Attendant | |
| Emilio Bonucci | ... | Taxi Driver | |
| Pino Manzari | ... | Toll Collector | |
| Ettore Manni | ... | Bank President | |
| rest of cast listed alphabetically: | |||
| Mario Bava | ... | Crowd extra (uncredited) | |
| Barbara Ehringer | ... | Woman behind the window (1996 prologue restoration) (voice) (uncredited) | |
| Nina Gueltzow | ... | Woman behind the window (1996 prologue restoration) (uncredited) | |
| Fabrizia Sacchi | ... | Mother (1996 prologue restoration) (uncredited) | |
Directed by | |||
| Mario Bava | |||
| Lamberto Bava | (director: new scenes) (uncredited) | ||
Writing credits(in alphabetical order) | ||
| Cesare Frugoni | uncredited | |
| Alessandro Parenzo | screenplay | |
| Alessandro Parenzo | story | |
Original Music by | |||
| Stelvio Cipriani | |||
Cinematography by | |||
| Emilio Varriano | |||
| Mario Bava | (uncredited) | ||
Film Editing by | |||
| Carlo Reali | |||
Makeup Department | |||
| Vittorio Biseo | .... | makeup artist | |
| Marisa Marconi | .... | hair stylist | |
| Angelo Roncaioli | .... | makeup artist | |
Production Management | |||
| Lucio Orlandini | .... | production manager | |
| Ugo Valenti | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Fabrizio Bava | .... | assistant director (as Roy Bava) | |
| Lamberto Bava | .... | assistant director | |
| Mario Garriba | .... | second assistant director | |
Sound Department | |||
| Roberto Alberghini | .... | sound recordist | |
| Mario Bramonti | .... | sound recordist | |
| Giuseppe Muratori | .... | boom operator | |
Special Effects by | |||
| Sergio Chiusi | .... | special effects | |
Camera and Electrical Department | |||
| Giuseppe Alberti | .... | assistant camera | |
| Cosimo Barbera | .... | grip | |
| Giovanni Canfarelli Modica | .... | assistant camera (as Gianni Modica) | |
| Giuliana De Rossi | .... | still photographer | |
| Vittorio Monterosso | .... | grip | |
| Quinto Proietti | .... | grip | |
| Massimo Rinaldi | .... | best boy | |
| Toto Rinaldi | .... | gaffer | |
| Flaminio Tabarrini | .... | best boy | |
| Franco Tocci | .... | key grip | |
| Jurgen Haller | .... | camera operator: prologue (uncredited) | |
Costume and Wardrobe Department | |||
| Wayne A. Finkelman | .... | wardrobe (as Wayne Filnkelman) | |
| Maura Zuccherofino | .... | seamstress | |
Editorial Department | |||
| Lea Lander | .... | post-production (as Lea Krueger) | |
| Angelo Marzullo | .... | additional editor | |
Other crew | |||
| Dawne Allstrom | .... | script girl: English | |
| Antonella Ballasio | .... | continuity | |
| Cesare Caramandi | .... | production secretary | |
| Renato Cecchetto | .... | dubbing director | |
| Ivan Cerio | .... | title designer | |
| Carlo Fabris | .... | production accountant | |
| Nando Nibbi | .... | continuity | |
| Franco Panzo | .... | permits | |
| Vanda Tuzzi | .... | continuity | |
| Recent Posts (updated daily) | User |
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| Who played the little boy? | movieboy-13 |
| new DVD version??? | RonAltman |
| Available soon on DVD? | steffan-3 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb Italy section |
| Add this title to MyMovies |
In only the first half hour, Rabid Dogs has more tension and psychological insight into the criminal mind than all of Reservoir Dogs making Tarrantino look like an amateur. Even Scorese has admitted the influence of Bava, this movie has Mean Streets starting to look pale in comparison. The master cinematography, confined setting, brilliant camera angles, and editing brings to mind some of Orson Welles best laid out scenes. This all presides over a backdrop of overwhelming despair abundant in nihilism which begs yet another comparison to another admitted admirer, David Lynch, who looks like a student to the teacher - the breadth of brechtian super realism truly achieves it peak, of which an entire generation of filmmakers have aspired to, including Fellini - all of whom had never had the chance to see the film until the late nineties. The film is a tribute to the genius of Mario Bava and in a way the culmination of all his talent and influence neatly compacted into a ninety minute film school. One of the finest crime dramas ever made. The intricate dialog which illustrates a pure hatred of life and total lack of respect of all that is good - even makes one start to question if Coppola missed the boat with the Godfather a little bit in making his characters a little too heroic and romantic, rather than the base individuals they are supposed to portray. One comes from this film with a horror of the criminal rather than a wish to emulate. In this real time robbery, murder and car-jacking, Bava takes us to the precipice, the edge of reason and finally beyond all semblance of humanity.