El asesino del Tíber

Nico Giraldi's sixth (!) outing takes a giallo form when a leading industrialist type guy is stabbed in the back when the lights go out during a meeting. Who killed the guy and why? Everyone attending is a suspect, but an old man who was seen arguing with him prior to the meeting is arrested as the prime suspect.

Giraldi knows the guy who's been arrested and doesn't think he's responsible, so he starts investigating all those who were in attendance at the meeting, while also playing special attention to the dead guy's attractive wife, whom he hits on merely three days after the murder of her husband. Giraldi also gets to get it on and possibly marry the prime suspect's daughter, but does he ever track down the killer.

You know these Inspector Giraldi films are merely an excuse for Tomas Milian to ham it up for laughs, right? The fairly standard giallo plot (dead person, loads of red herrings, killer bumping off witnesses) is just background noise for Milian to dress up in crazy outfits, swear an awful lot, hit on women and do a bit of crazy slapstick.

At first I thought this one was a bit mild in these stakes until Milian started chasing a suspect on horseback and the film turned into a Western, with the horse remaining as a character for the rest of the film and even ending up living with Milian (no mouse called Serpico this time around). The highlight of the film for me was when Milian has to get to one of the suspects, but in order to do so enters a singing contest, which does with a cheeseball disco song with drag artist backing singers.

These are Milian's films all the way mind you, so if you like to see him mouthing off to his superiors and acting like a horny fanny rat, there's eleven of these Giraldi films just waiting for you.

Of the eleven (11!) films that director Bruno Corbucci and lead actor Tomas Milian made together in the "Squadra/Delitto" series, THIS is the one I was looking forward to the most. Why? Because it's the only installment with a typical Giallo-plot... Of course, the film can't really compete with the great & genuine Italian Gialli from earlier in the 70s decade, but it's an enjoyable effort (albeit with a too exaggeratedly convoluted finale).

Back in good old Italy, after two adventures in the US of A, eccentric cop Nico Giraldi is investigating the bizarre murder of wealthy businessman Manfredo Ruffini. During a meeting on a boat with six associates, Ruffino got stabbed in the back during a power outage that only lasted 40 seconds. Every person in the room had a motive for killing the ruthless tycoon, so everyone is a suspect. Do you see the Giallo resemblance? Since there are so many prominent & influential suspects, the unorthodox Giraldi clashes with his superiors and he's also very obtrusive towards Ruffini's ravishing widow Eleonora.

The sequels in this series have evolved quite a lot. The first couple of films were downright infantile & vulgar slapstick comedies, but by now the jokes & comical situations are (slightly) more mature and often also quite funny. It's still a late 70s exploitation flick, though, so this means there are numerous sexist and racist jokes that will easily offend nowadays audiences. But hey, I'm generation X so I shamelessly laughed out loud a few times. It's not the best of the cycle, though. Check out "Squadra Antitruffa" and "Squadra Antigangsters" for that.

Assassinio sul Tevere (1979) delivers a classic Italian crime drama infused with nostalgic charm and a touch of comedy, yet it falls short in several areas, meriting a solid 6/10.

The film, directed by Bruno Corbucci, stars the charismatic Tomas Milian as Nico Giraldi, an unorthodox and streetwise cop navigating the murky waters of crime in Rome. Milian's performance is the film's highlight, effortlessly blending humor with grit, making Nico a likable and engaging protagonist. The supporting cast, including Bombolo as the bumbling sidekick, adds a layer of comedic relief that keeps the tone light and entertaining.

Cinematographically, Assassinio sul Tevere captures the essence of 1970s Rome, with its bustling streets and scenic views along the Tiber River. The setting becomes a character in itself, enhancing the film's nostalgic appeal. The soundtrack, though dated, complements the era, immersing the audience in the film's world.

However, the film's plot is where it stumbles. The murder mystery at the heart of the story is intriguing but suffers from a lack of coherence and pacing issues. At times, the narrative feels disjointed, with subplots that seem to meander without clear purpose. The humor, while enjoyable, occasionally undermines the tension, detracting from the suspense that a good whodunit requires.

The production values also show their age, with certain technical aspects, such as editing and special effects, feeling noticeably outdated. This might add to the film's charm for some viewers but can be a distraction for others seeking a polished cinematic experience.

Overall, Assassinio sul Tevere is a mixed bag. It offers a delightful trip down memory lane with memorable performances and a vibrant depiction of 1970s Rome, but its narrative flaws and dated production can't be overlooked. It's worth a watch for fans of vintage Italian cinema and Tomas Milian enthusiasts but may not satisfy those seeking a tightly woven mystery thriller.