7.4/10
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Almost Human (1974)

Milano odia: la polizia non può sparare (original title)
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A small-time homicidal maniac kidnaps the daughter of a rich man, prompting a hardened detective to work outside the law to pursue him.

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Cast

Cast overview, first billed only:
...
...
Commissario Walter Grandi
...
Gino Santercole ...
Mario Piave ...
Grandi's Assistant
Luciano Catenacci ...
Ugo Majone
Pippo Starnazza ...
Papà
Lorenzo Piani ...
Gianni - Marilù's Boyfriend
Joris Muzio ...
Giulio's Lawyer (as Muzio Joris)
Rosita Torosh ...
Franco Ferrari ...
Brambilla
Francesco D'Adda ...
Annie Carol Edel ...
Marta's friend (as Annie Edel)
...
Police Inspector with glasses
Tom Felleghy ...
Judge Rossi
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Storyline

Guilio Sacchi, an underworld leader in crime, is about to rise above the rank of mafia hit-man to the most savage killer in Milan. He kidnaps the daughter of a wealthy business man, planning to live a life of luxury with the ransom he collects. In the course of obtaining the money, Guilio finds it necessary to mercilessly slaughter anyone who gets in his way as the city's death toll increases by the minute. Walter Grandi is a frustrated police chief who's seen too many innocent people die by Guilio's hands. Determined to exterminate Guilio and his men, Grandi attempts to convict the vicious criminal only to realize he can never obtain the necessary proof. Finally, Grandi must transgress the rules of his profession to stop Sacchi's ruthless reign of terror. Written by Prism Entertainment

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Taglines:

It doesn't matter how loud you scream. See more »

Genres:

Action | Crime | Thriller

Certificate:

R | See all certifications »
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Details

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Release Date:

14 November 1975 (USA)  »

Also Known As:

Almost Human  »

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(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Director Umberto Lenzi stated in an interview that his first meeting with Tomas Milian for this film was really difficult because Lenzi felt Milian didn't trust him. Milian had heard rumors that Lenzi was an impulsive, hotheaded director but in the end Lenzi felt that Milian got that he was the right director for the job. This started what Lenzi called a "love-hate" relationship between the two that would continue for a total of 7 films with the actor. See more »

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User Reviews

A depraved thrill-ride for the trash-tolerant
11 January 2003 | by (Pittsburgh) – See all my reviews

This was reportedly released in the U.S. in the 70's in a badly cut form and billed as a horror film.

It is clearly a CRIME film, one that focuses first on the malefactors (led by a crazed, sociopathic Tomas Milian) and only second on the pursuing detective (one mightily p****d-off Henry Silva). The version I saw, supposedly "uncut," certainly did not leave me bored. It's trashy, over the top and exploitative, expressing much the politics of a "Dirty Harry" rip-off with its emasculated cop driven to vigilante tactics and its sleazy anti-hero (Milian) who will literally stop at NOTHING, not even remorseless, cold-blooded murder, just to steal a few bucks out of a cigarette machine. But it didn't leave me bored.

Milian's riveting (as usual) performance--many complain that he exaggerates too much but I feel they're missing the point--suffers greatly due to the bad English dubbing. This is quite frustrating, since Milian speaks English and could have done it himself. The excellent Morricone score also suffers, since the music suddenly gets lowered or stops altogether every time a character speaks. But these are faults, I'm sure, of the English language version and not of the film itself.

The film itself, taken on its own terms, is entertaining as hell. Especially if you think Hell might be entertaining. Milian's character, a small-time hood named Sacchi who is determined to make it big by kidnapping a rich guy's daughter, is on a hell-bent mission. He doesn't care who he kills, tortures or rapes as long as he doesn't leave witnesses. When he's not killing, torturing and raping, he's committing brazen acts such as following the cops who are supposed to be following him and going to the police station to report his own crimes.

It's a bloody crime film that never lets up. It's set in a desperate, anarchic urban landscape where Grandma and Grandpa sell machine guns. Morricone's score adds a whole ominous dimension; the music in the opening credits just says, "Ugly things are about to happen." And they do. Just look for a version with subtitles, if you don't speak Italian.

Quentin Tarantino's mother was blowing his nose, damn straight.


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