currently employs him, especially a gang of bank robbers who in their flight be not only the police but fired indiscriminately at passers-by, killing several innocent people. With hundreds, and the use of helicopters trying to police the leader Piero Cavallero (Gian Maria Volonte) to take, while the anger of the population, the situation heated up further ...
clear you can not name a movie title - "Banditi a Milano" (The Bandit of Milan) scores it to the point, because Carlo Lizzanis straightforward film focuses on a gang of bank robbers, led by Piero Cavallero (Gian Maria Volonte), their seventeenth raid into a bloody fiasco is. analyze Instead psychological background or personal feelings of the perpetrators, Lizzani begins with a semi-documentary introduction to the film, the Commissioner Basevi (Thomas Millian) at its center, which depicts an in OFF position Reporter conditions in Milan. The camera glides from a lynch mob on the roofs of Milan, between displayed a gangster, an old school, who reported that today's criminals have no nursery more, which he glorifies violence Comics blames before Lizzani the destruction of a nightclub with the comic drawings garnished.
Total leave this first 20 minutes with a reference to the later gangster story to tell after the fact, an absurd idea, in its mixture of the description of increasingly violent crimes, and comic relief, such as when a crime boss with violence its just at the table losing bet repeated and it takes the opportunity to be the better, also have a cheaper price, racketeering offer, if ever burst a man in any interviews or interrogations, because he had stolen 100 000 lire by the authority wants to have, or have a woman Commissioner with their erotic fantasies as an alleged witness holds the phone.
is interesting to note the ironic parallels to the then student unrest and changes in Italian society, because even the people - Accrual at the start might just as an escalating demonstration can be taken from the conservative comments of the older gangsters are representative of the attitude of his generation, night clubs and free sexuality for the loss of morality and not least, there are Gian Maria Volonte, mimes instead of his usual role as a revolutionary and fighter for justice, with not one bit less committed to the ruthless gangster. 
This combination purifies the subject in an impressive way, because thanks to this "foreplay" is sufficient to have shown here is state of society, to allow the conduct of the bank robbers seem plausible. Even as the violence escalates and Piero Cavallero (Gian Maria Volonte) on the run from the police shot indiscriminately into the crowd, Lizzani no need for any kind psychological superstructure. He can even afford to snatch the innocent victims of their anonymity to take a quick look at their previous lives and their families, without a moment in order to get the suspicion, emotional resentment of stir up the gangsters to do.
the contrary - it is quite striking, as the smug, loud-mouthed Cavallero exist on its criminal acts to murder no doubt, still remains the most colorful figure. Subliminally violent stresses occurring bourgeois, uncomfortable grip on to women and without any doubts about his intelligence, Gian Maria Volonte is a revolutionary and bourgeois in a person. His playing is so variable that details of his past are not necessary - this man is as much a part of this society, as it makes fun Volonté, his character is free to rampage. Lizzani emphasizes the still of the opposite Representation of his opponent, the Commissioner, the boyish Milian, intellectual, always a cigarette holder in his mouth, extremely ration al and is dominated. Further away can hardly be a Commissioner of its population to be protected.
be why the Verfolgungsjadgen the police, with long car ravings by Milan's streets, hundreds, the scan heavily armed every square meter, and helicopters, that Cavallero and his still only remaining companion be driven more and more into a corner, not to Mentekel or lowering of the gangsters, but to flee Victims of two highly stylized. Lizzani remains seemingly neutral, mere observers, without external stress some sympathy, but when ever indulged a film that built up such a situation towards the end, a gangster, the psychological feeling of victory, whose laughter to the viewer to finish in the ears sound?
"Banditi a Milano" Italy 1968, Director: Carlo Lizzani , writer: Lizzani Carlo, Massimo De Rita, Starring: Gian Maria Volonte , Thomas Milian, Ray Lovelock, Don Backy, Laura Solari, Running time: 92 minutes
- further discussed in the blog films Carlo Lizzani :
"L'amore in città" (1953)
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