La città sconvolta: caccia spietata ai rapitori

Luc Merenda and the revenge of a desperate father

The widowed motorcycle mechanic Mario Colella (Luc Merenda) lovingly looks after his son Fabrizio (Marco Liofredi). One day he and a classmate are kidnapped in front of school in broad daylight. The boss (Marino Mase) of the blackmailers demands 10 billion ITL ransom. Completely impossible for the penniless Mario, but the other boy is the child of the rich construction lion Filippini (James Mason) and his wife, Countessa Grazia (Valentina Cortese). The competent inspector Magrini (Vittorio Caprioli) intervenes, but the stubborn Filippini negotiates on his own and deliberately delays payment. The kidnappers lose their nerve and kill Fabrizio to reinforce their demands. Now there is no stopping the desperate Mario...

Cult director Fernando Di Leo shot a typical revenge thriller of the time (a man takes action where the police and the system fail) in the style of Charles Bronson in Rome and Milan. CINECITTA was simply great when it came to creatively copying successful formulas from Hollywood. The plot is not necessarily logical, but it is very exciting and entertaining. Luc Merenda can't shine with differentiated acting, but he can do action scenes. A more exquisite achievement was achieved by Hollywood star James Mason (1909-1984), who shortly before his death would become the father-in-law of pop singer Belinda Carlisle. And Valentina Cortese was nominated for an ACADEMY AWARD for Best Supporting Actress in 1975, when the film was released in Italian cinemas (in German-speaking countries it was not released on video until the 1980s) with "La nuit americaine" by Francois Truffaut.

Quite a quick contribution from the poliziottescho genre that is appealingly entertaining!

"La città sconvolta: caccia spietata ai rapitori" (1975), directed by Fernando Di Leo, is a crime thriller that delves into the dark underbelly of kidnapping and revenge. With its gritty atmosphere and intense storyline, the film has the ingredients of a compelling thriller. However, despite its promising setup, the execution is uneven, leading to a film that falls short of its potential.

Merenda delivers a solid performance, embodying a man driven to the brink by his desire to save his son. His portrayal of a father caught in a web of crime and corruption is convincing and provides the film with much of its emotional weight.

James Mason, in a supporting role, adds a layer of gravitas to the film. His portrayal of a morally ambiguous character is one of the highlights, bringing a nuanced performance that stands out amidst the more straightforward roles. The supporting cast, including Valentina Cortese and Irina Maleeva, contribute to the narrative, though their characters often lack depth, serving more as plot devices than fully realized individuals.

Di Leo's direction is effective in creating a tense and foreboding atmosphere. The film's cinematography captures the gritty streets of the city, enhancing the sense of danger and urgency. The action sequences are well-executed, providing the necessary thrills and keeping the audience engaged. However, the pacing of the film is inconsistent. Some scenes drag on longer than necessary, while others rush through important plot points, disrupting the overall flow of the narrative.

The film's exploration of themes such as desperation, revenge, and the moral complexities of justice is commendable. However, these themes are not always fully developed, leading to a somewhat superficial treatment of what could have been deeper, more thought-provoking material.

One of the film's shortcomings is its script, which at times relies on clichés and predictable plot twists. The dialogue can be stilted, and certain character decisions feel contrived, detracting from the film's realism and emotional impact. Additionally, while the score by Luis Enriquez Bacalov complements the film's dark tone, it occasionally overwhelms the scenes, drawing attention away from the narrative.

In conclusion, "La città sconvolta: caccia spietata ai rapitori" is a film that offers moments of genuine tension and strong performances, particularly from Luc Merenda and James Mason. However, its potential is undermined by uneven pacing, underdeveloped themes, and a script that falls into familiar tropes.

I won't add much more if you compare with what said the other users. Yes you have to deal here with a brilliant Italian crime flick, which shows us that cinema from the other side of the Alps may be terrific when it dares to. This story of a double abducting involving two children: a poor and a wealthy one, with then the confusion about their family, the poor and the rich one reminds me another little underrated gem named GRACELAND with almost the same scheme. This very one is not so usual among crime movies. GRACELAND was very narrowly released and made in the Philipines. That's all what I will say about it. Interesting films that are not so common these days. The feature from the Philipines are from 2013 although.

Another great Italian crime flick from Fernando Di Leo. Don't skip this one if you're a fan of his work or Italian 70s crime films. The low rating on IMDB isn't an accurate reflection.

Of all the multi-talented Italian cult directors of the 60's and 70's, Fernando Di Leo was the one who pleased us with the best and most adrenalin-rushing crime thrillers. His most famous "Italian organized crime" trilogy (existing of "Caliber 9", "Manhunt" and "The Boss") is downright brilliant, but Di Leo also made a number of flicks that are a lot less acclaimed but at least equally terrific and revolutionary. This "Kidnap Syndicate" is arguably his biggest hidden gem and I'm enormously grateful to the good people over at the Nocturno label for releasing the film in a splendid DVD-format. Cult collectors all around the world: if you come across ANY movie released by this label, never hesitate for one second to pick up a copy!!

"Kidnap Syndicate" is a lot less turbulent and 'in-your-face' explosive than the average Italian crime flick (usually revolving on rough unorthodox coppers chasing relentless criminals), but there's a strong focus on character drawing and story elaboration. Colella is a hard working but struggling mechanic who solely raises his son Fabrizio ever since the wife passed away. The boy is friends with Antonio, son of the extremely rich but incredibly repugnant businessman Filippini. When criminals kidnap Antonio in front of school, the brave Fabrizio tries to prevent this and the nervous kidnappers pull him into the car as well. They demand a huge ransom for the boys, but the pigheaded Filippini refuses to give in to criminals and put the lives of the boys at stake, whilst Colella and even the police commissioner can't do anything. The kidnappers eventually prove their seriousness, and the statement is obviously made via the "poor" child. Colella goes after them, but soon stumbles upon a very complex and well-protected network. The first half is, as to be expected, very talkative and with a vast emphasis on melodrama. There are some truly powerful sequences, most notably when practically the entire cast of characters literally begs Filippini (magnificent, though extremely ungrateful role of the brilliant James Mason) to stop playing with the lives of innocent children and just pay the damn ransom. The second half offers some bona fide Italian hard- boiled action, with wild car chases and grim, graphically shown executions. It's terrific how Colella purchases his targets, but also simultaneously humiliates and provokes them. His character is probably the vigilante/avenger that you sympathize with the most. The climax could have been a bit better and more imaginative, according to me at least, and I'm missing a more memorable soundtrack. Other than those minor remarks, "Kidnap Syndicate" is a truly exhilarating Italian cult film that I'm glad and proud to have seen.