Un flic hors la loi

MANHUNT IN THE CITY - not to be confused with another Italian crime film sometimes called MANHUNT and also starring Henry Silva in support - is a 1975 violent crime film directed by the inimitable Umberto Lenzi and starring Silva who goes on a ruthless revenge spree as he hunts down the gang members who shot and killed his little girl during a heist portrayed at the film's opening.

This film is very much in the mould of Lenzi's popular crime movies starring Maurizio Merli although it's not quite top-tier material. The impassive Silva ends up encountering all manner of low lives and bad guys but the futility of his vengeance is made more than apparent in the movie's downbeat scripting. Most of the time he seems to have stuff done to him rather than doing stuff to the bad guys. There's plentiful action here and a fast pace to boot, making this an effortless watch as always for the genre, but MANHUNT IN THE CITY lacks a little of the depth and the drama to make it one of the best of its type. It's perfectly watchable, just quite ordinary as these polizia movies go.

Revenge, vigilante squads, police brutality, excessively violent heists going awry … These are all very popular and frequently used themes in the wonderful universe of exploitation cinema from the '70s! All these badass themes may have featured in Hollywood classics first (like "Dirty Harry", "The French Connection" or "Death Wish") but it were the genius producers & directors from Italy that capitalized on the audiences' hunger for blood and violence the most! Throughout the gloriously decadent 70s decade, Italy spawned literally more than hundred so-called "Poliziotteschi" movies and (almost) every single one of them is worth tracking down. One of the directors who reigned over this sub-genre was Umberto Lenzi. Even though this "Manhunt in the City" cannot really compete with the best titles he has directed (those would be "Almost Human", "Rome Armed to the Teeth" and "Violent Naples"), it's nevertheless another mature, harsh and exciting thriller. The born in New York actor Henry Silva starred in so many of these films that most people probably think he's an actual Italian! Here, Silva impressively depicts the tormented and heart-broken father David Vannucchi whose innocent 8-year-old daughter relentlessly got killed by gangsters during a jewelry heist. Like all citizens of Milan, Vannucchi thinks that the police don't make enough efforts to reduce crime and capture criminals, so he starts his own private investigation to find his daughter's killers. His search leads to dubious vigilante organizations, sleazy night clubs and drug traffickers, but also brings him in mortal danger. His ex-wife Vera and the tolerant Police Inspector beg him to stop, but Vannucchi's urge for justice is unstoppable. In comparison to the vast majority of Poliziotteschi movies, "Manhunt in the City" features relatively few virulent car chases, brutish shootouts and general perversion. Instead of all that, Lenzi comes up with an intelligent script that touches upon several sensitive but socially relevant themes and a truly unexpected and perplexing end-twist. Seriously, the ending of "Manhunt in the City" can be used as evidence to state that Italian exploitation cinema is a lot cleverer than people (especially surly critics) think! Lenzi's direction is tight, the performances are excellent and Bruno Nicolai hits the exact right tone with a powerful score.

Italian vigilante thriller starring Henry Silva and Luciana Paluzzi

A year after the sensational success of "Ein Mann schlägt zurück / A Man Strikes Back" (1974) with Franco Nero and Giancarlo Prete, successful director Umberto Lenzi brought this alternative to Enzo G. Castellari's film to Italian cinemas (May 8, 1975). Lenzi's film, which in English should actually be called "A man from the street ensures justice", is a tough vigilante police film that was shot in Milan and distributed by the renowned Titanus film distributor.

At the beginning it's pretty tough! During a robbery at a jewelry store, Vera (Luciana Paluzzi) and Davide Vannucchi's (Henry Silva) sweet little daughter (Susanna Melandri) is brutally shot. The completely desperate parents become more and more dissatisfied with the police investigation, so Vennucchi and his publisher friend (Silvano Tranquilli) do their own research. The architect increasingly develops vigilante intentions and comes into contact with a group of self-proclaimed crime fighters (Claudio Gora, Luciano Catenacci). His frightened wife and the level-headed police inspector (Raymond Pellegrin) try to stop Davide from the worst...

A very exciting film that doesn't skimp on the brutality you'd expect from Italian genre films and also offers a few other surprises. Umberto Lenzi, who has already appeared in many genres (historical film with Hildegard Knef in "Catherine of Russia" (1963) / adventure film with Steve Reeves as "Sandokan" (1963) and various gialli with the fabulous Carroll Baker (So sweet...so perverse , Knife of Ice)) was on the way, Here too, he does a remarkable job. Above all, he knows how to direct his excellent cast.

Henry Silva, who also knew how to impress in the Mario Adorf classic "LA mala ordina / The Mafia Boss - They Kill Like Jackals", "Il Boss / Der Teufel führt Regie / The Devil Is Directing" and "Poliziotti violenti / Blutiger Schweiß / Bloody Sweat" with Antonio Sabato, is not quite as good as a grieving father, but He's fantastic as a killing vigilante.

The Roman Luciana Paluzzi, born in 1937, who was married to the American actor Brett Halsey before he married German EUROVISION star Heidi Brühl (1942-1991), is best known as the best and most beautiful Bond villain of all time in "Thunderball" (1965). She was also in "La mala ordina / The Mafia Boss - They Kill Like Jackals" and alongside Antonio Sabato in "Calling All Police Cars" (1975). Here she impresses as a grieving and desperate mother.

Luciano Catenacci (1933-1990), who was once "promoted" to an actor as director Mario Bava's production manager, is only represented in a small role, but his face has been known since his appearances as "Chefchen" in "Zwei außer Rand und Band / Two Out of Order " (1976) and "Zwei sind nicht zu bremsen / Two Can't Be Stopped" (1978), when he was so impressively beaten by Bud Spencer and Terence Hill, are unforgettable.

A typical poliziottesco! A typical 70s film! Definitely a must see for fans of the genre!

Italy, the land of fine art and classy footwear, has also long been known for having the Mafia, Cosanostra, Ndranguetta, Camorra, drug cartels, corrupt police, serious youth crime, and all manner of violence.

In L'uomo della strada fa giustizia (literally translating as The Man in the Street Implements Justice) you get a feeling that by 1975, the year this film came out, Italian society openly rebelled against the crime situation. More than anything else, this Umberto Lenzi effort reflects social unhappiness over the crime rate in the country, and how any innocent person could become victim.

As in DEATH WISH, which came out in 1974, a family member is placed on the sacrificial altar for maximum manipulation. Here, it is Henry Silva's beautiful and sweet 8-year-old daughter who gets shot dead. A purportedly blind man asks for her help to cross the street, uses her to get into the bank and finally shoots her dead to eliminate the witness... but she crucially lives long enough to talk about a scorpion, which turns out to be a piece of jewelry on the villain's wrist.

Henry Silva never struck me as a good actor and here he just uses the same facial expressions - no range, no emotional depth - and quite frankly I kept missing Luciana Paluzzi's delicate facial features. Not that her role amounted to much, basically she just told hubby Silva to not embark on revenge but to take himself in hand and avoid violence.

Sadly, Silva does not listen to lovely Paluzzi but police prove very lenient and promptly urge him to claim that he acted in self-defense. The film's best lines come from Silva's interaction with a transexual, with some cad popping up and saying: "One of these days I'll give you something nice, say, a golden dildo."

Of course, L'uomo della strada fa giustizia cannot match the production values let alone the budget of vigilantism-related films coming out in the USA at the time like DEATH WISH, THE FRENCH CONNECTION, or STRAW DOGS. 6/10.

It's not often Umberto Lenzi shows restraint, but I'm really glad that he cut away right before those mobsters shoved a huge candle up that transvestite's arse.

This poor transgender person wouldn't have suffered such a fate if it wasn't for Henry Silva, but then how was Henry supposed to know that his endless search for the guy who killed his daughter would have negative consequences? His kid gets shot during an armed robbery (for no reason either - the robbers just let a couple of bullets fly while heading out the door), and now Henry has a single clue to go on, and no faith in the Italian police.

I thought it was a bit harsh that Henry got fired from his job while grieving for his kid, but that just left Henry more time to get madder and madder while watching the country go to pot as he's harassed by bikers, sees men drool over his wife, and sees a guy stealing stuff from a street market. To be fair, he does give that guy a right good kicking. How can Henry (eventually) get to the people who killed his kid?

Turns out he has a few allies - his friend is newspaper editor Silvano Tranquilli is one, and although the cops aren't too good at finding the killers, the chief inspector tries to be as sympathetic as possible. There's also the semi-sinister vigilante group who like to smash people's hands with sledgehammers. Lenzi doesn't pull away from that so consider yourself warned.

This film is kind of like Enzo Castellari's Street Law, but not quite as good. Henry Silva always makes a great killing machine, but lacks a little of emotion as a grieving father. Plus, he isn't really let off the leash until the end of the film. I can see that Lenzi was aiming for something with a bit more characterization here, but both his and Silva's strengths lie in all out action.