Milano odia: la polizia non può sparare

Umberto Lenzi's Almost Human is a film that takes in all the best elements of seventies Italian cinema and blends it all into one deliriously entertaining thriller! Umberto Lenzi is, of course, more famous for his cannibal and zombie films; but I have it on good authority that his real talent lies in police thrillers, and even though this is my first Poliziotteschi from Lenzi; it appears that would indeed be the case. The film takes obvious influence from successful American films such as Dirty Harry, but it's also obvious that Lenzi has added his own spin on the sub-genre, as the sadistic director implants a lot of scenes that wouldn't be out of place in an exploitation film. Almost Human is graphically violent throughout, and that is certainly no bad thing! The film follows a career criminal known as Giulio Sacci who realises that he's not making a lot of money out of small time crime and so hatches a plot to kidnap a wealthy man's daughter and hold her for ransom. It's not long before Milan's toughest cop; Inspector Walter Grandi gets on the case and sets into motion a bloodthirsty chain of events!

The cast and crew is like a who's who of Italian cinema. Lenzi himself has directed a number of the best Italian films, while nobody will disagree that films such as The Strange Vice of Mrs Wardh and The Case of the Bloody Iris make Ernesto Gastaldi one of Italy's finest scriptwriters. The cast is superb, and benefits from two strong lead male performances. Thomas Milan, perhaps best known for performances as Django and a starring role in Fulci's Don't Torture a Duckling, gives a sadistic and charismatic lead performance, while Henry Silva is his opposite number. There are support roles for the likes of Anita Strindberg and Ray Lovelock, and just to top things off; Almost Human is scored by the great Ennio Morricone! The plot is superb and continually delivers the unexpected as the lead character descends further into bloodthirsty insanity. Lenzi does a good job of presenting a dirty and gritty atmosphere for the film, and ensures that the film feels like a police thriller with several car chases and shootouts. Italian films are known for being cheap and nasty; but that isn't the case here, as the production values are good and the film always feels professionally made. Highly recommended for the fan of Italian cinema!

One of my favorite Italian director is Umberto Lenzi, sadly he was extremely stigmatized by the critics, not to me, he was a benchmark for his outstanding career, possible it was his best work undoubtedly, Tomas Milian better known from Spaghetti's pictures here he makes an iconic psychotic cheap thief, who has an awful idea to kidnap a young daughter of a rich business man, tragic happenings come forward, he and his frightened beginners partners made a brutal bloody wave of needless violence against all in their path, a true milestone at Lenzi & Milian's careers, maybe the unique sin made by Lenzi was put Henry Silva in the role of the Police Commissioner to replace the previously contracted Richard Conte who had died one day before of the movie starts shooting, Henry Silva doesn't disappoint at all, but sounds weird so tagged actor linked at banditry making such role, also on DVD has a bonus on a rare interview gave by Lenzi before he pass away, talking about this picture and others subjects on small details over Milian's relationship !!!

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First watch: 2019 / How many: 1 / Source: DVD / Rating: 8.5

Almost Human (1974)

*** (out of 4)

Exciting crime picture has psychopath Giulio (Tomas Milian) growing more and more dangerous as he kidnaps the daughter of a rich man and holds her for ransom. A police inspector (Henry Silva) is following some murders and believes that it is the work of the kidnapper so he sets out to find him.

Umberto Lenzi's ALMOST HUMAN is an extremely entertaining mix of EuroCrime as well as something like DIRTY HARRY. The film offers up two great actors turning in great characters and this is just part of the fun. Many people have called this film dirty and nasty but I'm going to disagree because even some of the American crime pictures from this era contained more violence and blood. What this film succeeds at is telling a very good story and showing what a psychopath one can be.

Lenzi's direction certainly deserves a lot of credit and especially with the flow and style of the picture. There are some effective car chases at the start of the movie but what I liked the most was how Lenzi shows this madman slowly losing more of a grip on reality and falling into his madness. I really liked the character structure of the killer and thought it worked perfectly well against the cop who knows what he's dealing with and wants to handle it himself.

Of course, Milian and Silva are both wonderful in their roles and they bring a lot of entertainment value. Milian is a pure evil snake here and I thought he worked wonderfully as a villain that you love to hate. Silva is a lot more straight and doesn't have as flashy of a role but he too is still a lot of fun. The support cast are also quite good and help keep the film moving. Then you've got a terrific score by Ennio Morricone as well as some very good cinematography.

ALMOST HUMAN is certainly one of the better crime pictures out there. It has a nice story, some great characters and the style that you'd expect.

ALMOST HUMAN (Umberto Lenzi - Italy 1974.

I had missed out far too long on Umberto Lenzi's best known crime flick, which is hands down one of the best poliziotesschi I've seen so far, almost on par with the best of Fernando Di Leo's work, together with Lenzi one of the more prolific directors within the genre. Whilst generally acknowledged to be one of the better Italian crime flicks, Lenzi's somewhat ham-fisted approach to his gialli, had made me a little reluctant to catch up with any of his other work. Although Lenzi's own VIOLENT NAPLES is also a well-made, highly effective genre entry, this one comes close to beating out that one when it comes to sheer brutality and an almost unbelievable barrage of nasty violence.

A rarity in most Italian crime thrillers, this film benefits enormously from an intriguing and woefully ambivalent central character, played with tremendous vigour by Tomas Milian, who plays Guillio Sacchi, a violent low life scumbag with no regard for human life at all and with a real penchant for torture and rape. The other side of the law is represented by stone-faced Henry Silva, who switches to playing a cop this time, instead of his usual turn as the calculating crime kingpin. The story by Ernesto Gastaldi is simplicity itself and doesn't take all kinds of distracting side-roads that make many other genre efforts so forgettable in that department. Anyway, if you're still in doubt about the merits of Italo-crime flicks, watch this one. An intriguing story, Tomas Milian in a great role and Ennio Morricone contributes another impressive soundtrack what must be one of his most recognizable scores this side from Sergio Leone. I keep wondering if the members of the Academy, who recently honoured Morricone with the honorary Oscar, had any idea what kind of films the maestro generally got involved in.

Camera Obscura --- 9/10

Yet another winner from Umberto Lenzi, one of the masters of the Italian Crime movie (and there are many). For this one, he focuses mainly on the exploits of Guilio (Tomas Milian), a psychopath out for that one big score, who struggles to keep his insanity in check.

Julio's just botched a bank job by getting a bit paranoid and killing a traffic cop, and after receiving a well-deserved kicking from some gangsters, he heads off to his girlfriend's house to mooch some cash. When not getting a kicking or mooching, Guilio hangs around with his petty thief mates, preaching about a big score. After killing yet another cop while being caught stealing from a cigarette machine, Julio stumbles upon his plan – to kidnap the daughter of a wealthy businessman and hold her for ransom. He's got two problems with this plan. The first problem is that Cop Henry Silva is on his trail ever since the murder of the cop at the cigarette machine. The second problem is that Guilio is a complete psycho and kills without thought, leaving a trail of bodies for Silva to find. Silva himself has a problem – he's a victim of the apathy and red tape of the Italian crime system and his fury grows every time he's held back from stomping all over Guilio's head. Although Almost Human is violent and sleazy, it's not as over the top as Violent Naples or The Rat, The Cynic, The Fist. Those two films had a larger cast, more car chases, and more characters to be killed off in various ways. Almost Human on the other hand is Milian's show all the way. Despite, according to the interview on my DVD, Milian being a bit full of himself, he really can act and here he displays every side of a sociopath, from a screaming murderer to a grief stricken boyfriend, to a begging, pathetic weasel (the switches in personality are really impressive). As the film concentrates almost exclusively on Milian, it's slower paced but not without it's set pieces, from Milian and his gang crashing a party, to Milian's drive with girlfriend Anita Strinberg out into the country. I'd say the title doesn't just refer to Milian, but also to Silva, who displays little emotion throughout the film, save his rage against Milian. I recommend this and all the other Lenzi crime movies I've seen: Violent Naples, The Rat, the Cynic, The Fist, and Syndicated Sadists. It's a pity he got bogged down trying to outdo Ruggero Deodato with those vile cannibal flicks, because it's with the crime genre he excelled at.