Svegliati e uccidi

Although the poliziotteschi sub-genre would not dominate the Italian box-office until the 1970's - a period which also saw crime movies in American cinema become distinctly grittier - it's roots can be traced back to the early work of director Carlo Lizzani. His early work, such as Wake Up and Kill (also known as Wake Up and Die) and The Violent Four (1968), laid the foundations for a rougher crime flick, movies that weren't afraid be socially aware or show Italy as the haven for crime and corruption it had become. For Wake Up and Kill, Lizzani took inspiration from one of the country's most popular Robin Hood figures - Luciano Lutring.

To be honest, I hadn't heard of Lutring before I was reading up about the film before watching it. I also doubt many people outside of Italy, or perhaps France (where Lutring served 12 years in prison), would have heard of him either, but his story is a familiar one. The likes of Ned Kelly and Jesse James come immediately to mind - criminals who are pardoned of their acts through folk-tales, becoming mythic heroes in the process. Lutring (played with a charismatic swagger by Robert Hoffman) robs jewels in broad daylight by smashing shop windows with a hammer and grabbing what he can. As his fame rises and his reputation hardens, he turns increasingly violent, carrying a sub-machine gun in a violin case which lends him the name "the machine-gun soloist,".

At first, Lizzani draws us into a sexy world of crime where every robbery lacks sophistication but sets the pulse racing, with sexy club singer Yvonne (Lisa Gastoni) soon on Lutring's arm before she realises what she's gotten herself into. Led by the determined Inspector Moroni (Gian Maria Volonte), the police are always one step behind Lutring's crime-spree. A few moments of casual domestic violence aside, Lizzani mainly portrays Lutring in a sympathetic light, being sexed-up by the media and blamed for crimes he didn't commit. For the crimes he does commit, Lizzani delivers a couple of well-handled and realistic set-pieces, usually in broad daylight. But at just shy of two hours (there are various versions of the movie out there - it appears I saw the longest) Wake Up and Kill feels dragged out, despite closing with a fantastic open-ended final scene.

Before "Bonnie and Clyde" (1968) and the American Ultra-Stylized Revolution.

Italian Cinema was Trending Toward Realistic, although Heightened Imagery.

Influenced itself by the French "New Wave" and the Public's Maturing Taste for Evolutionary Input with Their Entertainment.

More Violence, More Sex, More Action, More Movement, More-More-More.

In this Mid-Sixties Thriller, based on a True Story, the Action Only Let's Up for the Love and Bickering of the "Crash and Grab" Jewelry Thief and His Wife.

Taking Place in Italy and France Mostly.

The Film is Highlighted by Remarkable On-Location, Cinema Verite Style Street Stuff. Glittering, Glossy, and Gritty Scenes and a Prescient Score by Moriconni.

The Police and Press Become Involved and What Happens Surrounding these "Lovers on the Run" is a Sight to Behold.

The Film Feels Disjointed and Jarringly Incomprehensible at Times,

but there is No Time to Dwell, because Things Pick Up and Power On Relentlessly.

For About 2 Hours the Movie Hardly Gives You Time to Breath and the Experience of Watching this Beautiful Mayhem may leave some "Breathless".

A Frenetic, Frenzy of a Film that Paved the Way for American and European Cinema Styles for Decades.

The Influence can Still be Felt Today.

A Must-See for Film Historians,

or Anyone Wanting an Overdose of Movie-Madness at its Most Colorful, Chaotic and Playful.

Wake Up and Kill (Wake Up and Die is the English perversion) is not a giallo but a serious crime drama made the same year that Luciano Lurting was caught, an infamous Italian jewel thief who was finally apprehended in Paris, France.

This movie deserves more attention because of how well-constructed it is and how engaging it remains nearly 60 years later despite a run time of over two hours in the original Italian version. Part of the fascination is that the subject matter is taken from the front page news of the time, but also that the crime drama so seriously focuses on the self-destructive nature of the man.

Lurting's wife Candida works with the police in an attempt to stop him without it ending in his death, blinded by a love that only a young abused wife could possibly muster, as the film depicts him lying to her, slapping her around, and being utterly ungrateful for her attempts to have him taken alive.

Wake Up and Kill shows the true nature of the sociopath, addicted to the thrill of a life of crime even when faced with loneliness and hunger. I'm afraid this classic film is not getting the love it deserves for that aspect alone.

The whole film is about Robert Hoffman and Lisa Gastoni. They are both very beautiful, it's true, but they do the same thing again and again, in Milano, Como, Nice, Paris, etc. Gian Maria Volontè, the greatest actor of all time, has just a smaller role. The music of Ennio Morricone is good. Carlo Lizzani has directed much better films as "The Violent Four" (1968)Banditi a Milano (original title), with the same Gian Maria Volontè, but in a super role, or "Torino nera" (1972), with Bud Spencer, Françoise Fabian and Marcel Bozzuffi.

Given the choice of viewing a full length original subtitled version of a film or a shortened UK language version, I would always choose the first option. Given this choice on the Arrow Blu-ray release, however, I learned from somewhere that the original version might appear to drag in parts and went for the shorter version. This is so great, with fast action and continuous, exciting location cinematography that I will now have to watch the other as well. Based on a true story with filming beginning just three months after the guy's arrest and in the cinemas within a year, this is breakneck, budget film making at its best. Robert Hoffmann and Lisa Gastoni are both effective and charismatic in the lead roles but in truth it is those fabulously shot sequences along sparkling streets, shop fronts and bar interiors that make this such an evocative and exciting movie.