When Terry Levene distributed this film in the late 1970's, he replaced a few of the establishing shots with those of American locations. For an establishing shot of the Rome youth center where Tanzi meets Stefano, Levine used a shot of the Manhattan night club "Fascination". Strangely enough, in the later Lenzi film Da Corleone a Brooklyn (1979) (which also starred Maurizio Merli as an Italian policeman), Merli drives by the club "Fascination" after he arrives in New York. See more »
The opening credits are played while the camera in first person view mode (From a criminal's POV) drives through Rome looking at banks and building societies and leaves the city through a long, dark tunnel as the credits end. See more »
Sometimes I think that what really takes you into this movies is... the tune. At the beginning you see an "Alfetta" driven by a guy wearing a red and black scarf, some creepy skyscrapers in the background while the credits appear on the bottom right of the screen. You feel just surrounded by a massive soundtrack and you smile. I wonder if it used to feel the same in the seventies. I've seen only another Lenzi's movie. "Milano odia. La polizia non puo' sparare" has got a similar plot (Same subject, to be honest) but the director chose to put the criminal as the protagonist. In "Roma a mano armata" the policeman is violent and aggressive, in "Milano odia" the outlaw is a sort of victim of the system. It looks like the fight against criminality gets tougher day after day. The cinematographic relevance of these movies is their success in celebrating the action. But I found in Lenzi's a strong attention in the sociological issues related to his stories. His characters have got a good inner nature, they seem like gotten worse because bred in a hard environment. Finally, it is just amazing how a 31 years old film is still perfectly enjoyable and that is probably due to a neat and careful direction.
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