Milano odia: la polizia non può sparare (1974)

User Rating:

7.3/10   

Director:

Umberto Lenzi

Writers:

Ernesto Gastaldi (screenplay)
Ernesto Gastaldi (story)

Release Date:

November 1975 (USA)

Genre:

Action | Crime | Thriller

Tagline:

It doesn't matter how loud you scream.

Plot:

A psychotic small-time criminal realizes that the everyday robberies, rapes and murders he commits aren't making him all that much money, so he figures to hit the "big time" by kidnapping the daughter of a rich man. |

Plot Keywords:

Kidnapping | Murder | Nudity | Poliziottesco | Child Murder

Cast

Tomas Milian	...	Giulio Sacchi
Henry Silva	...	Commissario Walter Grandi
Laura Belli	...	Marilù Porrino
Gino Santercole	...	Vittorio
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	...	Marta
Franco Ferrari	...	Brambilla
Francesco D'Adda	...	Romano
Annie Carol Edel	...	Marta's friend (as Annie Edel)
Giuseppe Castellano	...	Police Inspector with glasses
Tom Felleghy	...	Judge Rossi
Elsa Boni	...	Papa's Wife
Vittorio Pinelli	...	One of Maione's thugs
Tony Raccosta	...	One of Maione's thugs
Vittorio Sancisi	...	One of Maione's thugs
Anita Strindberg	...	Iona Tucci
Guido Alberti	...	Mr. Porrino - Marilù's father
Ray Lovelock	...	Carmine
rest of cast listed alphabetically:
Michael Forest	...	Vittorio (voice: English version) (uncredited)
Mariano Laurenti	...	Sacchi's Advocat (uncredited)
Nello Pazzafini	...	One of Maione's thugs (uncredited)
Ted Rusoff	...	Grandi's Assistant (voice: English version) (uncredited)
Claudio Sforzini	...	Friend of Giulio in Bar (uncredited)
Frank von Kuegelgen	...	Giulio Sacchi (voice: English version) (uncredited)

Directed by
Umberto Lenzi

Writing credits (in alphabetical order)
Ernesto Gastaldi		screenplay
Ernesto Gastaldi		story

Produced by
Luciano Martino	....	producer

Original Music by
Ennio Morricone

Cinematography by
Federico Zanni

Film Editing by
Eugenio Alabiso

Costume Design by
Luciano Sagoni

Makeup Department
Fausto De Lisio	....	hair stylist
Franco Di Girolamo	....	makeup artist
Maurizio Trani	....	assistant makeup artist

Production Management
Biagio Angelini	....	production supervisor
Gianfranco Couyoumdjian	....	production manager
Elio Di Pietro	....	production manager

Second Unit Director or Assistant Director
Alessandro Metz	....	assistant director

Art Department
Luchino Oltrana Visconti	....	assistant production designer
Antonio Visone	....	set designer

Sound Department
Bruno Moreal	....	sound mixer
Roberto Petrozzi	....	sound
Corrado Volpicelli	....	boom operator

Special Effects by
Giuseppe Carozza	....	special effects

Camera and Electrical Department
Giorgio Garibaldi Schwarze	....	still photographer
Mario Pastorini	....	assistant camera
Elio Polacchi	....	camera operator

Editorial Department
Amedeo Moriani	....	assistant editor
Luciano Vittori	....	color consultant

Music Department
Sergio Marcotulli	....	music recordist
Bruno Nicolai	....	conductor

Other crew
Mirella Malatesta	....	continuity
Angelo Sarago	....	administrator
Angelo Sarago	....	cashier
Beniamino Sterpetti	....	production secretary

Production Companies

• Dania Film

Distributors

• Joseph Brenner Associates (1975) (USA) (theatrical) (dubbed)
• Joseph Brenner Associates (1979) (USA) (theatrical) (retitled re-release)
• Cinefear (????) (USA) (VHS)
• NoShame Films (2005) (USA) (DVD)
• Prism Pictures (1996) (USA) (VHS)
• Taurus Entertainment Company (1987) (USA) (all media)

Other Companies

• Digitmovies Alternative Entertainment  soundtrack

Also Known As:

Almost Human (USA) (reissue title)
The Death Dealer (USA) (reissue title)
The Kidnap of Mary Lou (USA)

Runtime:

99 min

Country:

Italy

Language:

Italian

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Canada:R (Manitoba) | Germany:18 | Italy:VM14 | USA:R | Germany:BPjM Restricted

Filming Locations:

Milan, Lombardia, Italy

Company:

Dania Film

Trivia:

Marc Porel was originally offered the role of Giulio Sacchi. Director Umberto Lenzi had a meeting with him and found him to be "unreliable from both a human and professional point of view." Lenzi told the producer "It's him or me." The producer asked Lenzi if Tomas Milian was OK. Milian's conditions were reasonable so he got the part.

Movie Connections:

Featured in An Enraged New World (2002)

Stunningly nasty hostage thriller by Umberto Lenzi

ALMOST HUMAN (Umberto Lenzi - Italy 1974.

I had missed out far too long on Umberto Lenzi's best known crime flick, which is hands down one of the best poliziotesschi I've seen so far, almost on par with the best of Fernando Di Leo's work, together with Lenzi one of the more prolific directors within the genre. Whilst generally acknowledged to be one of the better Italian crime flicks, Lenzi's somewhat ham-fisted approach to his gialli, had made me a little reluctant to catch up with any of his other work. Although Lenzi's own VIOLENT NAPLES is also a well-made, highly effective genre entry, this one comes close to beating out that one when it comes to sheer brutality and an almost unbelievable barrage of nasty violence.

A rarity in most Italian crime thrillers, this film benefits enormously from an intriguing and woefully ambivalent central character, played with tremendous vigour by Tomas Milian, who plays Guillio Sacchi, a violent low life scumbag with no regard for human life at all and with a real penchant for torture and rape. The other side of the law is represented by stone-faced Henry Silva, who switches to playing a cop this time, instead of his usual turn as the calculating crime kingpin. The story by Ernesto Gastaldi is simplicity itself and doesn't take all kinds of distracting side-roads that make many other genre efforts so forgettable in that department. Anyway, if you're still in doubt about the merits of Italo-crime flicks, watch this one. An intriguing story, Tomas Milian in a great role and Ennio Morricone contributes another impressive soundtrack what must be one of his most recognizable scores this side from Sergio Leone. I keep wondering if the members of the Academy, who recently honoured Morricone with the honorary Oscar, had any idea what kind of films the maestro generally got involved in.

Camera Obscura --- 8/10