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Crime (1966) Umberto Lenzi

Contents: The out While the criminal detective (Glenn Saxson) for execution, wait Inspector Milton (Andrea Bosic) and his superiors on the redemptive message. But this is different than expected, because detective escaped by a miracle, because the rope suddenly broke. That was no accident, explains Milton at once, for he himself had provided for criminal escape, because he promised only to the replacement of the English Crown, the crime had been stolen.

But this can shake off his pursuers and escape from England, sent but not without Milton inspector before the crown, in return for the rescue from the rope. For now pursuing new criminal objectives ...

Even in Italy, where the medium of comics learned much earlier cultural acceptance, than in Germany, had by Max Bunker invented comic series "Crime "major struggle with the censors. In the early phase of the "Fumetto nero" in the first half of the '60s, were the cynical and uncompromising behavior of the Protagonists, and particularly its explicit sexual acts as a provocation, what was the success with readers, however, not diminish.

Nevertheless, the early implementation of the substance was surprised in a movie, for what in the comic books was at least a limited extent, could not even be brought to the screen. Umberto Lenzis screenplay based on the comics you realize this compromise in favor of a movie compatibility according to clear, since "crime" was based more on the successful wave of James Bond films than to the original template. It starts with the skeleton - costume, the real hallmark the "crime" that is used here only rarely, and unmotivated. And certainly not to an incognito, because every time detective (Glenn Saxson) uses it, he pulls the mask off his head.

's not surprising, because the Dutch mime should convince in his first role, especially with blonde hair and nice facial features similar to its rapid success in females could be conclusively why Lenzi also not even with a characterization of the protagonist or the growth of a master criminal was staying. Instead, he starts right in with its execution, which because of its Theft of the royal crown in London to run the knitting. That he escaped, was equally consistent, but perhaps not the fact that of all his main enemy, Inspector Milton (Andrea Bosic) of Scotland Yard, was responsible. This promised to them to figure out the hiding place of the crown, some do not because, of course, crime can escape his pursuers, but he returned the favor for his recovery with the return of the crown.

This opening sequence is the film's Umberto Lenzi line before - used to elegant venues, especially in Istanbul, where most of the subsequent action takes place, fast, in their logic, not always comprehensible plot, but which - skillfully graphically - out talking to her comic character, the constant cat and mouse game between detective and the inspector that a little of the also popular at that time, "Fantomas" films recalls, and not least, many beautiful women, of which did produce mainly the German-born model Helga Line as twin sisters Inge Trude, the detective made life really difficult. In short, "crime" can always talk with a varied action and its visual benefits, but was nowhere near the success or even the popularity of the Bond or Fantomas - Movies , Come close so the film, despite the continuation "Il marchio di crime" came two years later, into oblivion.

The reason for this is calculated in the stylistic element that the film today, the 60's Zeitgeist also power, prestige value. Despite all the smoothing of the original comic template makes Lenzis film no secret that crime is a criminal who ruthlessly murdered for their own benefit. Unlike "Fantomas", and certainly not comparable to James Bond Gentlema n - role is the identification with the protagonists difficult. Even by the omission of historical background to the main character, lacks a moral differentiation of its actions. His desire to steal the jewels, is based solely on the idea of enrichment.

that he wants to remove other criminals who committed insurance fraud previously prevented that its role is not clearly negative reception, as well as the fact that he killed only people who who planned it with anything else. But with real self-defense have its acid - cleverly orchestrated attacks and killings to do anything, even if she is not Likeable take. The same is true of his love affairs, which - as in comics - always arise from a mixture of fear and fascination with women, because they do not have emotional intimacy, nor the nonchalance Bond shear love adventure.

If Lenzi did actually develop a kind of Italian Bond, the question arises as to why he of all the comic presentation of "crime" it chose. Whose intelligence and success with women, were only superficial similarities, as well as its English origin, which was implemented here not very authentic. The film shines contrast with Lenzis ability to cool production and a screenplay that his origin but can not completely deny. From today's perspective, does the design of ambivalent protagonists, not to a - still common today - keeps moral code, courageous.

"crime" Italy, Spain, 1966, Director: Umberto Lenzi , writer: Umberto Lenzi, Max Bunker (comic) , Starring: Glenn Saxson, Helga Line, Andrea Bosic, Ivano Staccioli, Maria Luisa Rispoli, Running time: 93 minutes

further discussed in the blog films Umberto Lenzi :

"Paranoia" (1970)

"L'uomo della strada fa giustizia" (1975)

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L'oro di Napoli (The Gold of Naples) 1954 Vittorio De Sica

content : In six episodes, the film creates a kaleidoscope of life in Naples mid-50s:

Episode 1 "Il guappo" (The Bandit)
Saverio (Totò) must not only maintain the grave of Esposito (Agostino Salvietti) deceased woman, but bear every night that this down to eat in his apartment einfindet and eating, his wife leaves. But what he can, working as a clown in the streets of Naples, already aligned against the local crime boss?

Episode 2 "Pizza a credito" (pizza on credit)
Sofia (Sophia Loren) and her husband sold Peppino (Paolo Stoppa) Pizza at a roadside stand. Peppino writes every business on this, because its customers have to pay later. When he suddenly finds that the wedding ring finger missing on his wife, he immediately closes his business, because they claimed that they have lost the dough. He wants to go to each customer of the day to find the ring again ...

Episode 3 "Funeralino"
The funeral procession slowly walks out of the narrow streets of Naples on the main road to the cemetery. The mother (Teresa De Vita) mourns the death of her son ...

Episode 4 "I giocatori" (The players)
Because the count (Vittorio De Sica) is not allowed to play for money, he secretly meets with the young son of the Porter to play with this "Scopa" a small bet ...

Episode 5, "Teresa"
As Teresa (Silvana Mangano) is picked up at the brothel where she works to congratulate her with her colleagues to the wedding with a Neapolitan nobleman. There is a chance for them to escape the environment, but they still do not know what to expect ...

Episode 6 "Il professore"
While Ersilio Miccio (Eduardo De Filippo) moves for his work, the people in front of his simple dwelling snake. Everyone has a question for him ...


That it is "L'oro di Napoli (The Gold of Naples) is not a crime film, Vittorio De Sica makes it clear from the very first text display. It is the people that give the city a face and make their actual value. For De Sica, who grew up in Naples, was the confrontation with the local conditions, a recurring element of his work, both as a performer and as a director. Not that he took in "L'oro di Napoli" both positions (in "Teresa Venerdi" he even took the lead role), makes the film to a feature, but its central position in De Sica's oeuvre between neorealism and strengthening of comedic elements.

Besides this aspect, the film was still in the character of Cesare Zavattinis current enthusiasm for film episodes. He had the year before "amore L'in città" with different directors and "Siamo Donne" brought out, he used the novel by the Neapolitan Giuseppe Marotta adjust to it a kaleidoscope, consisting of six episodes in the life Naples build in the mid 50s. The result was also with De Sica, a first common episodic film, if not in collaboration with other directors.

interesting is why the interpretive approach to the Italian way of life that De Sica in the 60 years "La Riffa" (Fourth episode from "Boccaccio '70 "), "Ieri, oggi e domani " (Yesterday, Today and Tomorrow) and Matrimonio all'italiana" brought (Wedding in Italian) to a flower that continues to shape the image of the life-Southerner, despite severe setbacks never loses his zest for life. An image whose visual basis, the beauty of Naples and the face of Sophia Loren was that played in all the films the female lead. All of these Conditions also apply for "L'oro di Napoli", who fell in contrast to the later, more popular works to date unjustly forgotten. Perhaps the reason is that here is yet to feel the closeness to the neo-realism, which is manifested not only in documentary photographs, but also in the characterizations of the inhabitants of Naples, whose behavior seems more authentic and less idealized.

second Episode "Pizza a credito" (pizza on credit)

the example of the role of Sophia Loren becomes most apparent in the second episode of Sofia, the wife of a co-working pizza chef, plays, the pizzas sells on credit to the people. Just as later, in "La Riffa" or in the first episode of "Ieri, oggi e domani" here her beauty, thus emphasizing the desire for men. In "La Riffa" they hired himself out as a prostitute out of necessity, whereas in "Ieri, oggi e domani" one child after another was given in order not to end up in prison. They even toyed with the idea to refer to another man to father, when her husband was broken. But despite these frivolous approaches, it was ultimately more honest and faithful, while it is clear in "L'Oro di Napoli" from the start that they have their corpulent husband (Giacomo Furia) cheating with a pretty boy.

From this, it is pretending to be her husband, to have been in the church. When he then noticed that her wedding ring is missing on her hand, for which he had applied a few years ago all his money, she claimed to have lost it during the kneading of the dough, although it must be clear that this is her lover . panic, her husband tries to find the ring again, as he seeks out all previous purchasers of a pizza, bothersome and even a widower who just mourned the death of his wife. Sofia accompanied him not without a guilty conscience in the vain search until you think of a trick that is almost wrong.

This episode is in their diverse views of different living habits not only the most diverse of the film, but cleverly combines drama and comedy into a multifaceted picture of the Neapolitan character that is not only lively and positive, but also selfish and narcissistic. A woman shows such as Sofia was allowed to have their naughty sides. This courage to differentiate De Sica later brought on not what is in the description of the cohesion of the population showed one another. While this was always portrayed as always in solidarity (just think of the collection of criminal money in the first episode of "Ieri, oggi e domani "), remained in "L'oro di Napoli" is not the aspect of self-interest hidden.

The sequence of short films with each other, which take place almost simultaneously in the same place, played less of a role, because each episode works both independently and as part of the whole. That in some versions, the Sophia Loren-episode comes only in third place, is therefore not decisive, however, but the reduction in the In some films - especially the published in Germany - leads to episodes that deal with very specific topics:

third Episode is "Funeralino"

Surely this is the episode of the documentary film, which requires only a few words. De Sica follows a mother (Teresa De Vita) at the funeral of her son. First, she bears the child's coffin to the coach, before a small group with her and her daughter at the top, the trail starts to the cemetery. The camera follows the path of the funeral procession only through the narrow streets of Naples before he reached the splendid main road in the Gulf. The images from the long shots make it clear that the train itself was staged, but not the environment in which it took place.

The grief of the mother, whom she overwhelmed in the end, can not conceal that the death was part of a child for life in Naples. On the spacious avenue she throws sweets for the children - a gesture that is meant to emphasize the affiliation of death to life, which proves itself at once. A large number of children come running up and is jostling for the sweets. The scene ends in accordance with their discussions about who could collect the most of it. Nothing in this short film is exaggerated or dramatized, But Vittorio De Sica gives it life in a directness that his neo-realist films such as recalls, "Umberto D".


4th Episode "I giocatori" (The players)

An opposite effect, the short episode about the card game of a count (Vittorio de Sica) with an approximately 10-year boy. And yet the comic scene about an old, distinguished man, which has forbidden his wife to play for money, so his reception has given him organize his son as a secret player, not put on funny in itself, but shows only the energy with which a man of his Pursues passion. understand

the scene in detail to, it is necessary that Italian card game "Scopa" means, for De Sica leaves at the way the boy plays the card and acknowledge the points standings, how devastating the count here is beaten. The comedy arises from the contrast of the commitment of both players. While the boy was brought by his father only on request to the game, the Count excited about the supposed happiness of the winner so on loudly, as it would have been a lot of money and not the use of a slingshot.

It is these two episodes described in its reduced form to a topic of significant character of the Neapolitan, as the often rambling, picturesque images accompanied by stories of De Sica's later films. Although there were combines many elements that should be found here by the expression of individual episodes, but it succeeds much more concentrated here. This proves the first episode, the theme of crime analytically accurate in its intrusion into the private sector - describe - as is typical of the Mafia.


first Episode "Il guappo" (The Bandit)

As Saverio (Totò) at the grave of a woman is, one has no idea that it has no kinship to her. The condolences another visitor he receives more moody, though they be particularly friendly, the other gentleman as he compared his acquaintance with Gennaro Esposito (Agostini Salvietti) mentioned to his late wife is there in the grave. When he returns to the winding streets of Naples, he is asked by a short well-dressed man if he had anything done. He might even four lighted candles, to respond Saverio.

very name of the episode with "Il guappo" is a clever comment, because actual criminal acts are not shown here. Gennaro Esposito himself would also do not as a "bandit" since he is from his position of power out, would never have made themselves their hands dirty. It is enough that the entire neighborhood turns out to him respect, particularly Saverio, who not only maintains the grave of his late wife, but for his family with four children, he goes in and out daily.

This condition lasts for ten years now, is like to hear from Saverios desperate words to his wife that Esposito had then invited out of respect to him. This has been participating for granted the role of family responsibilities one, the central position occupied at the table and listen to the children immediately, while they respect 've lost their father. This sad state of De Sica emphasized by Saverios working as a clown, when it occurs in Naples for the amusement of the population.

But how narrow is the extent in Esposito's position clear in the film, as the burly man apparently suffered a heart attack. As he weakened and frightened again for dinner at home Saverios appears, there will be an uprising. Insurgency is, of course, too big a word for Saverios reaction, but the film succeeds in a few minutes, the close network between power and dependence, which flourishes in the narrow streets of Naples, working out, or to dramatize without offering a solution for it to do.

5th Episode "Teresa"

In "Teresa" is not just about the longest episode, but the real star vehicle of the movie because Silvana Mangano, here played the title role, had been "Riso amaro (Bitter Rice) by 1949 in Italy is very popular, while Sophia Loren's career was still in its infancy.

Interestingly, this episode, despite its high entertainment value, the least predictive of the actual theme of the movie because of the conflict between the prostitute and the nobleman who marries a surprise from the brothel out is specifically tailored to Silvana Mangano. It is clear that the circumstances surrounding the wedding ceremony and also the view of the magnificent palace of local color, but ultimately they are only staffage a treacherous game and not - as in the other episodes - an integral part of the pattern.

The film lives accordingly from Silvana Mangano game, which plays the role of convincing at first intimidated prostitutes, and of growing profile. This constellation is less surprising than its final determination with which even this short film, despite its least in the reality-based character, again in "L'oro di Napoli "incorporates. Unlike many films that play with the idea of a connection between citizen and son of a prostitute, was "Teresa" no need to sugarcoat anything or put into perspective.

6th Episode "Il professore"

The short final episode describes the other hand, again unpretentious one aspect of everyday life. While a man (Eduardo De Filippo) moves in his simple apartment, many people are standing outside line. Sometimes something urgent, but disciplined, they connect in turn to his apartment to ask him something.

know this, we must, that terms such as "Il Dottore" or "Il professore" in Italy not only officially acquiring title, but also the honorary title. That it is the man for no real professor or teacher plays accordingly not matter because within the Naples community, he has earned a reputation for knowing all the answers, and no matter how absurd.

De Sica thus demonstrating once again very well the internal connections of a socialization that creates its own rules and laws. And so ended a film whose six episodes - regardless of their order - be shaped into a complex picture of a community, include the one hand, much of their own experiences of the director, but by not showing typical stereotypes, general statements about urban life.

"L'oro di Napoli" Italy 1954, directed by Vittorio De Sica, screenplay: Cesare Zavattini, Vittorio De Sica, Giuseppe Marotta, Actor: Sophia Loren, Silvana Mangano, Eduardo De Filippo, Toto, Vittorio De Sica, Running time: 130 minutes

further discussed in the blog films of Vittorio De Sica :

"Stazione Termini" (1953)
"Boccaccio '70" (1962)
"Ieri, oggi e domani " (1963)

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Il bestione ( The clever two) 1974 Sergio Corbucci

Content: have When Sandro (Michel Constantin) and his partner stopped transport Matteo their journey, they do not yet know that their last common carriers for their transport company was. When a health test Matteo is discarded as too old and that will now go Nino (Giancarlo Giannini) with Sandro. The younger man turns out to be but as sent at the wheel, but also as a pretty talkative why Sandro first ignored him and doing his own thing. But after their first long trip in Warsaw Come closer ...

Il Bestione "begins with a long fart, as Sandro Colautti (Michel Constantin) is increasing on the Italian border from his truck. But appearances are deceptive, because Sergio Corbuccis Trucker - movie is not a comedy, as it tries to convey also the German title, but a drama, as it was able to occur almost exclusively in the 70's. "Beast" (Il Bestione) Sandro affectionately calls the truck, with he and his partner Matteo (Enzo Fiermonte) as an employee of a carrier on the road.

But for Matteo was the last trip he had taken, for in the regular health screening, which must be subject to the driver, he is rejected as too old. Instead of jumping young Nino (Giancarlo Giannini) on the box, as Sandro will take the next tour. Although he quickly proves how well he can handle the car, but the older Sandy is his driving style to be brash and quick to mouth. The way "Il Bestione" based learning about two different men, recalls in his swing that disrespectful language and some crude first events in a typical detached "Buddy" - comedy material.

After Sandro Nino had run up a few times in language, they end up in a truck - restaurant, where Corbucci gleefully watching the men on the mouth and watched them consume large Essmengen. Sandro later disappears with the waitress in a back room while Nino tries to fool two Dutchmen playing pool. First, the novice marking, he pocketed the balls with a shock as it is about money. Not surprising that the Dutch beat up on him now and relieve him of his money.


Corbucci These events serve only as a description of a very male-dominated World of truck drivers, which he differentiated later in the trip to Warsaw. The confrontation with the Dutch in this context only the importance of small details on the much later he comes back again shortly. In addition to random love affairs along the road and short pleasures in the trucker - pub, the work consists mainly of monotony and the respect of travel times, so Nino, as he does not adhere to the appointed length of the pause, suddenly is no trucks on the road. His pursuit Tripp as a hitchhiker is a certain comic, but his wit helps him in Warsaw no longer continue.

The scenery in the Eastern Bloc is uncanny. While the experienced Sandro armed with a bouquet, once a young woman goes, he visited here regularly, trying Nino time to exit the next day to sell. In the middle of the night he finally ends up back at the despair of loneliness drunk sleeping Sandro, he had followed in his path to the apartment of the young woman, and even sleeps with her. The dispute in the morning is just between the men, as Sandro knows Ninos sensations. The sexual interactions that Corbucci describes here are only consequences of broken relationships because of a not family-friendly jobs and distraction from the loneliness. Accordingly, unromantic and demanding he staged here sex.


increasingly interlinked Corbucci his men story with real events of the early 70s in Italy. Sandy learns that his old partner Matteo receives no pension and is forced to live with his sister. When he then appeals to the union, it can only shrug their shoulders and declare their helplessness. Similar to the convoluted Western "Il grande silenzio" (corpses pave its way), it also succeeds in Corbucci Il bestione "his entertaining Style to maintain, without sparing the realistic conditions. It is thanks to Giancarlo Giannini, the sadness that never gains the upper hand, but it also goes for most of his optimism as he, having just returned from his much older girlfriend got their marching orders, go to Sandro on the New Year's Eve party. But the mood is only from television, while Sandy is sitting alone in his shabby apartment.

same time, this moment is the turning point at which they decide is to become self-employed as a transport company. Corbucci uses this new constellation of thriller-like moments that a kind of "Show - Down" leads to the Mafia, but this leaves no time the ground of reality. Much more it is clear that a small business, like that of Nino and Sandro, the balance of power is exposed without protection in the country. "Il bestione" is in its nature, reality and entertainment radical mix to a rare, in its lack of bias misunderstood gem, that one part of the disrespect, the language and directness of the Italo - Western is influenced to shy away on the other hand do not have arisen, the to describe the present. The end is in this tradition, because it lets the men at least their dignity.

Il bestione "Italy / France 1974, directed by Sergio Corbucci, Screenplay: Sergio Corbucci, Sergio Donati, Actor: Giancarlo Giannini, Michel Constantin, Giuliana Calandra, Enzo Fiermonte, Dalila Tues Lazarro, Duration: 98 minutes

more discussed in the blog films of Sergio Corbucci :

"Il grande silenzio" (1968)

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Trhauma (trauma) 1980 Gianni Martucci

Content: Lilly (Domitilla Cavazza) and her Andrea Mann (Gaetano Russo) have invited guests to their country house. But under the outwardly relaxed atmosphere the pool is brewing, because Lilly is annoyed that her husband constantly throws out their money, especially for his pathological gambling. The clean-up costs of the house that her husband had bought exceed significantly the proposed budget. Worse, there are between the photographer Paul (Timothy Wood) and his model Olga (Anna Maria Chiatante), which will be ordered around not far from this, and walks away offended. But their path leads directly to death ...

act as sympathetic people who wake up in the morning on a gorgeous country estate to swim in a large pool, while giving them a Breakfast is served, indicating above all critical words about the condition of the building and the annoying mosquitoes away? - In addition to the host couple Lilly (Domitilla Cavazza), type beautiful blonde, and Andrea (Gaetano Russo), type slick pretty boy, are still the photographer Paul (Timothy Wood), his model Olga (Anna Maria Chiatante), the wealthy, older Silvia (Silvia Mauri) and her much younger lover Carlo (Roberto Posse), and - slightly late arriving - the overweight Bitto (Diogene Franco) and his young and pretty secretary, Helen (Gina Mancinelli) on the solitary system.

writer and director Gianni Martucci (here under the pseudonym John Martucc) designed with this situation, a variant of Agatha Christie classic "Ten Little Niggers" principle that also during the then current "Slasher - wave" was . Accordingly, some parallels with "Friday the 13th" seen as perpetrators by which it is in "Trhauma," is clear from the beginning. In an opening scene that illuminates according to the classical model of operations in the past, two boys about 10 years of playing will be shown. This is the one, obviously blind in one eye boy of the other is driven to a test of courage. When he falls on high out of a tree, the other has nothing but contempt for the left seriously injured and leaves him . Back in the present we see the half-blind man who also drags one leg, playing with Lego - stones - and the typical picture of a disturbed man (Per Holgher), the little lurking unexpectedly in the bushes, as undress the female guests of the villa .

shows especially Olga in detail in the best of nudity, but it is also the first independent film seen. Their Poses for which it is caused by the arrogant photographer Paul are pure work, to which it obviously has no desire. Martucci designs here an overall image of sexuality that will never be celebrated with joy, but only for selfish reasons. Unlike the so-called "Teen - Slash" act here adult actors, their relations can only be described as disturbed. That Olga first to fall victim to fits, although apparently in the classical scheme of punishment from the perpetrators, but to return immediately, as the deaths of abused it. The motivation of the murderer was at least partially in his personal satisfaction, but that is more behind it, is obvious when he by a stranger after two new Lego brick - will be rewarded packs.

The murderer, while the film never identified by name, is obviously only the tool of the actual perpetrator, giving the story the necessary consistency, because from the beginning shown childhood experience and his mental disability, can be difficult to deduce why he suddenly begins to assassinate the guests of a country house. Nevertheless, this scene answered the question of the responsibility, because it illustrates the power of the other boys about him, so this was cut out to be harmless scene in many versions. This certainly gives the film a surprise at the end of the action takes him but much of its quality, because the behaviors and motives of the protagonists remain here always comprehensible.

It is therefore not so much the question of the perpetrator, as well as the identification with the parties is difficult, since they can to convince hostess Lilly, remain unsympathetic, but the atmosphere, with the "Trhauma. The idyllic landscape and the magnificent country house transformed in the dark in a claustrophobic place. And since Martucci after receiving death Olga at once with enough time, there are plenty of opportunities to create tension, which also contributes to the fact that no one knows about it. Olga is there, but the others think long that they offended in the city went back after they had argued with the photographer.

"Trhauma" is certainly not an exceptional contribution to the then aufebbenden "Slasher - wave". The half-crazed offender with his curly hair does not particularly frightening, the murders are not shown explicitly (especially from the killing of a shepherd dog, which bothered him during intercourse was necrophiliac) but the combination of menacing atmosphere, and generally disturbed sexuality is convincing.

" Trhauma" Italy 1980, directed by Gianni Martucci, Screenplay: Gianni Martucci, Starring: Gaetano Russo, Domitilla Cavazza, Roberto Posse, Timothy Wood, Per Holgher, Duration: 78 minutes