christopher-underwood A really good, uncompromising, violent and sexy police thriller with a fabulous lead performance from Gastone Moschin. Just out of jail, he is presented as being stuck between a rock and a hard place as he tries to manoeuvre himself so as not to get re-arrested by the police or killed by his mafia inspired ex-employers. He gives such a solid and believable performance which helps(or hinders) the viewer as we seek the truth in this exciting and twisting tale. Barbara Bouchet is ushered in as an exotic dancer in a wonderful beaded two piece. She gives a great performance, both as a dancer and key figure in this beautifully written piece. The action slows somewhat whenever we return to the police station but the double act of Frank Wolff and Luigi Pistilli and bad cop and good cop, help to keep things moving and Pistilli's dialogue seems to be very much the personal and political thoughts of writer/director Fernando Di Leo. A marvellous rock soundtrack and so, so, 70s decor help to ensure a very watchable, if very violent and thrilling ride.

PimpinAinttEasy Dear Fernado Di Leo, I had a tough time keeping track of all the plot twists. There were so many of them. But it was an entertaining film at the end of the day. You lack the finesse of Elio Petri or Melville. But it is OK. A lot of filmmakers would kill to make a film like this.You did assemble a cast of real bad asses.Gastone Moschin - well, I'll just say he was an odd choice for a leading man. Its not like he was bad or anything. But he would have been better off as one of the gangsters who get shot.Barbara Bouchet was sexy as hell.The exchanges between the capitalist and the communist police officers was interesting. That was your own stamp on the film.The scene at the beginning was terrific. You used the background score to great effect. Though I did not like how it suddenly turns into a rock n roll tune.I will check out more of your films.Loved the background score by LUIS BACALOV, the over the top acting by MARIO ADORF, complicated plot and the nude ravishing cabaret dancing BARBARA BOUCHET. i also realized that GASTONE MOCHIN, the dour hero acted as fanucci in GODFATHER 2.this is like an over the top version of JEAN PIERRE MELVILLE movie. there are a lot of similar themes and tropes. honor and friendship between gangsters. philosophizing police officers. women used as objects of sex. the violence is almost caricaturish. the first 15 minutes of the film is fucking outrageous. strongly recommend it. Best Regards, Pimpin.(9/10)

RainDogJr While I'm a huge Quentin Tarantino fan, it wasn't him the one who introduced me to the Italian filmmaker Fernando Di Leo. That would have been the usual, however this time my introduction came thanks to the twitter page of film critic Harry Knowles. He referred to some Fernando Di Leo movies as "awesome Italian Mafia movies that make the mob out to be the piece of s*** they are". I was immediately interested and later on I found out that Tarantino was a huge fan of Di Leo (and that John Woo too). So when I finally got from ebay the new Blu-Ray set of the "Fernando Di Leo Crime Collection" (with four of his films: MILANO CALIBRO 9, LA MALA ORDINA, IL BOSS and I PADRONI DELLA CITTÀ), it was just f****** great. After watching the pre-credit part of MILANO CALIBRO 9 (first film of the set) I was thinking something like "this is exactly how you start a crime film!" It blew my mind actually, and it definitely gives you a taste of how these bastards do things: is all about order and caution until something goes wrong… then is all about being the boss and merciless violence. Plus, it gives you what is pretty much an unforgettable score; great stuff and I don't think I'm going too far if I say that it is one of my favorite opening sequences ever. MILANO CALIBRO 9 bring us the story of Ugo Piazza (I'm pretty sure this name will stay with you just like it stayed with me), a criminal who just got out of prison after a four-year sentence (that was reduced to three years due to his good behavior). This film is like a giallo, with mystery all the time and an unknown red-dressed man who happens to follow the movements of our main character; is having the question "did Piazza stole or not $300,000 from a very powerful crime boss (known as "the American")?" instead of the classic giallo question of "who is the murderer?" We have some really memorable characters. Take for instance the conclusion of the film (don't worry, I'm not going to spoil you the whole thing): sometimes in movies those big plot twists simply don't work. Here we don't have that case but I really don't think the ending would have been as great as it without the -just awesome- involvement of the character Rocco (played by the German actor Mario Adorf - Rocco sort of looks like the Eli Wallach from the THE GOOD, THE BAD AND THE UGLY days!). You just have to love this Rocco guy, even when he is like the most unlikeable and annoying bastard around. Even some of the minor "mafiosos" deliver memorable and fun material (like that one who helps an old man to solve a crossword puzzle). And well, Barbara Bouchet is simply a delight. While Di Leo's film didn't fully explore them, it did have some interesting thoughts on the Mafia, the illegal drug trade and even the police system. I found many similarities with the great and realistic show THE WIRE; in both we have the flaws of the police system exposed (and incompetent chiefs too), the thing of drug dealers investing their earnings in the building of apartment blocks (that thing is only mentioned here by the character Don Vincenzo, a blind old man who once was a respected crime boss) and the overall interest of some police officers to not only go after the "mafiosos" but also after the people with the dirty money. Based in all of this, maybe I should say this film is ahead of its time… but really who knows? Actually I will just say this: it's just a f****** great film! *Watched it on 7 April, 2012

Woodyanders Tough, shrewd ex-con Ugo Piazza (superbly played with understated stoic and steely resolve by Gastone Moschin) gets paroled from prison. Both the mob and the police alike suspect Ugo of hiding $300,000 dollars which should have been given to an American drug syndicate. But Ugo refuses to divulge any information about the missing loot to either party. Writer/director Fernando Di Leo relates the absorbing story at a constant quick pace, does an expert job of creating and sustaining a supremely rough, gritty, and uncompromisingly harsh tone, stages the action scenes with considerable panache (a major shoot-out at an outdoor party is especially amazing and exciting), makes inspired use of the cold urban locations, and punctuates the narrative with shocking outbursts of extremely raw and brutal violence. This film further benefits from sturdy acting by a stellar cast: the ravishing Barbara Bouchet burns up the screen with her sultry portrayal of Ugo's loyal dancer girlfriend Nelly Bordon (Barbara's introductory scene depicting her dancing in a bikini in a swingin' club is memorably sexy), Mario Adorf delivers a deliciously robust turn as flamboyant and sadistic gangster Rocco Musco, Philippe Leroy excels as Ugo's rugged, yet weary former partner Chino, plus there are fine contributions by Luigi Pistilli as cagey, hard-nosed Inspector Mercuri, Frank Wolff as a liberal police commissioner, Ivo Garrani as the wise Don Vincenzo, and Lionel Standler as fearsome mob capo Americano. Moreover, we even get some spot-on stinging social commentary on the ineffectualness of the criminal justice system and the deterioration of the mob. The powerful surprise twist ending packs a strong and lingering sucker punch right to the gut. Franco Villa's slick cinematography gives the picture an attractive glossy look. The lively, rousing, hard-grooving score by Luis Enriquez Bacalov hits the funky spot. Highly recommended.