Verdammte, heilige Stadt

Violent Rome doesn't do anything that a whole load of other Italian crime flicks didn't do before it, but in true genre style - it's highly entertaining and the fact that director Marino Girolami is merely rethreading old ground doesn't matter too much since its old ground worth treading again! There are a number of things that I watch these films for, and violent Rome has most of them - those being car chases, gun fights, fist fights and good old' fashioned grit, and the fact that this film delivers all those things in a robust and unflinching manner means that it pretty much hit the spot. The plot, as the title suggests, focuses on various criminal and violent acts in the city of Rome (all the Italian cities seem to have been pretty violent in the seventies...). Commissario Betti is sick of the way that criminals can (literally) get away with murder because of the rules and regulations that govern the police force. It's inevitable that he would be kicked out, and pretty soon he is after shooting a criminal. However, there's a bunch of citizens who aren't too happy about crime either, and they gladly take him in.

The film takes obvious influence from Dirty Harry (like most Italian cop flicks) as the idea of a fed up high ranking police officer figures heavily, and here it works well because the film stars the excellent Maurizio Merli, who goes round beating up criminals in style and really does himself proud with his role here. The style of the film is gritty and dirty, and this reflects well considering the subject material. Naturally, the plot is nothing to write home about and it's clear that the director was more interested in entertaining the audience than putting on a show with any meaning - but that is fine with me! This does mean that we never really have any reason to care, even when the "emotion" surrounding one of the leading characters comes up. Violent Rome, like the later Violent Naples (also starring Maurizio Marli in the same role!) has more than it's fair share of cheese too...but somehow that sort of stuff goes well with the rest of the film. On the whole, Violent Rome may not be one of the best Italian crimes films of all time - but it's a good one and I doubt that fans of these films will regret seeing it!

I think my fellow reviewers are overstating things a bit. Roma Violenta is by no means a bad movie, but it does nothing any number of poliziotteschi films can't do better and it doesn't impress with what it does either.

Maurizio Merli plays another inspector, this time Commisarrio Betti. There's a healthy number of car chases, fistfights, gundowns and just about anything you would expect from a film of this kind, but it's all done with such a workmanlike air from Marino Girolami (Castellari's father) that I couldn't help but glance at my watch every now and then. Girolami does Roma Violenta with the get-it-over-with attitude of a professional instead of the enthusiasm of a fan. Get in, take the master shot, take the close-ups, get it over with cos there's a paycheck in the end. No imagination whatsoever. I can imagine him on set crossing things off a list: "Car chase? Check. Fistfight? Check".

Polizioto fans that need their fix will be satisfied by Roma Violenta, but if you haven't seen true genre classics like The Cynic, The Rat and The Fist, Almost Human or La Mala Ordina, then Roma Violenta can wait.

Forgive me the immoral and perhaps even inappropriate comparison, but watching a good Poliziotteschi movie from the '70s is like taking the best drug that exists! It's the sensation of one and a half hour adrenalin rushing, all your body's blood getting pumped to the heart at high speed and a delirium in your brains! When I watch a Poliziotteschi flick, and if it's a good one, I always feel revitalized and ablaze afterwards. "Roma Violenta" certainly isn't the greatest movie of its kind, and nearly not even the best Maurizio Merli movie, but even the slightly-less-than-stellar Poliziotteschi efforts are absolute must-sees for cult fanatics and so is this one! "Roma Violenta" is the first entry in a trilogy revolving on protagonist Commissioner Betti. But don't pay too much attention to the chronological order and details of these three separate movies. Personally I watched the first film last it didn't matter one bit. Betti is the only recurring character in the series, but furthermore there is no continuity whatsoever and some actors (like John Saxon and Luciano Rossi) even depict different characters in two different movies. Commissioner Betti is a tough and unorthodox cop in Rome. His heart bleeds as he witnesses how the city streets are infested with criminals and particularly how they always become more violent and relentless due to weak legislations and cunning lawyers. There are pointless assassinations on public buses, bloody bank robberies, supermarket heists, vicious rapes, unhappily ending hostage takings and even police officer annihilation. Betti's pursuing methods are efficient but very borderline, and he regularly comes into conflict with his superiors. When Betti shoots a bank robber in cold blood, after a bloody wild car chase with several casualties including his young partner, he finally loses his cop badge. He isn't unemployed for long, though, as he joins an elite vigilante squad where he can carelessly beat nasty villains' faces to pulp! Hooray! Admittedly the plots of nearly all Poliziotteschi movies are always the same, and you always know they'll feature mandatory car chases, gratuitous nudity and shocking images of innocent people (like nice old ladies or teenagers) getting slaughtered. But the vile truth is that you simply cannot wait to see it happen! Once again the highlight here is a virulent chase, with plenty of awesome Fiat and Simca cars going in severe overdrive, and a few deaths that are almost too brutal to describe (that poor hostage!). "Roma Violenta" doesn't feature such a good soundtrack as usually the case, but acting performances are truly top-notch this time. Maurizio "moustache" Merli is terrific, of course, but there are also great supportive performances from Ricard Conte, Ray Lovelock and John Steiner.

Man, Maurizio Merli has topped himself in the this CLASSIC police movie. The movie is about a cop, who is sick and disgusted by the way things are going, the criminals never seem to go to jail, and the bad guys seem to take advantage of the situation. That's where Merli comes in, he beats on them without flinching, his boss doesn't like it, so he kicks out of the force, but the story continues...( I won't give away anything, not even the suprise finally. Anyway, this according to me is a prime example of a classic Italian Pulp/thrash 70's movie. It's complete of old ladies, and children being shot in the face for no reason, rapes, angry people shooting each other in broad daylight. I give 2 thumbs up. You might remember Richard Conte in the movie "the Boss", here he plays a character that seems to have a heart(not a big heart, but at least he has one). Ray lovelock should have won an oscar as best supporting actor, and Maurizio Merli should have won a golden globe award

Commissioner Betti (Maurizio Merli), upon beholding a motivelessly slaughtered boy on a bus robbed by some thugs, vows to find the murderers, punish them for what they did, but also appease his desire of vengeance entailed by the demise of his brother who was killed in familiar circumstances. The violence begins to expand in the whole Rome…

It is virtually inescapable to succumb to this wonderfully pulpy film which is filled with ruggedly crafted action sequences and swift pace. No wonder why it was a huge commercial success on the day of its premiere and Maurizio Merli became a star. Notwithstanding, but for the neat direction by Girolami, it would not have been so effective since the script itself is not anything specific, invariably appears disjointed and towards the end the ensemble is not even concerned about clarifying why another outburst of violence embarks on. Likewise, the material lacks a strong antagonist who could emerge out of the shady streets of Rome and eventually face Betti. Another element which might not be utterly engaging is a socio-political commentary on the situation in the Italy which feels a sort of out of place and somehow contrasts with the mindlessly action-packed remainder of the flick. Instead of pushing the boundaries of pastime into the same directions as unabashedly entertaining Live Like a Cop, Die Like a Man (1975) by Ruggero Deodato, it aspires higher, but it's impossible to render something serious, if it's basically this kind of actionier. Thus, making allowances for those aspects, Girolami allows it all to flow and generally focuses on shootouts and fistfights, on account of which obtains an imposingly electrifying atmosphere reminiscent of a collage consisting of gliding bullets, enormous squibs and outstanding Merli ceaselessly ready to utilize his gun in the midst. The simplicity of rendition is one of the biggest benefits of this motion picture that makes it all so compelling. The best moment of Violent Rome might be the car chase when commissioner Betti pursues one of the villains played by John Steiner. The climax is so stimulating that one is capable of smelling exhaust fumes as well as the reek of burnt tyres. The execution is superb – the editing is sharp, but it never distracts and one is likely to agree that it's an extraordinarily riveting scene which stays in one's mind.

Maurizio Merli is very strong as commissioner Betti. He conveys a lot of charisma to his character as well as succeeds in creating a respectable and tough cop, the one who a delinquent wouldn't like to deal with. Ray Lovelock plays an undercover policeman who invariably comes in handy and provides Betti with multiple indispensable pieces of information. He is quite likable and believable in his role as a young, smug blonde. There are also numerous faces which all film buffs keen on Euro-cult cinema are familiar with. The soundtrack by Guido & Maurizio de Angelis is absolutely terrific and it's difficult to conceive another composer who could be able to replace this duo. Brothers de Angelis, grasping the point of the movie and their task as musicians, compose a fast, aggressive and catchy soundtrack which contextualises with this action flick phenomenally.

While certainly imperfect, Violent Rome is well-paced, ruggedly crafted and stunningly scored. It serves its purpose perfectly and it's genuinely hard to remain indifferent to its charm. Though it structurally isn't the most impressive work of all time, it's a great portion of delicious and nutritious grindhouse salad with loads of bloodily-red tomato sauce which is bound to leave its viewers satisfied.