Il giustiziere sfida la città

Infamously tempestuous and fruitfully incestuous filmmaking bedfellows, the reigning cannibal king, Umberto Lenzi, and his audaciously wig-sporting partner in-Euro-crime, Tomas Milian team up again for the roustabout, boorishly boy's own, Cops an' Robbers actioner, 'Il Giustiziziere sfida La citta' aka ' Syndicate Sadists', and while this isn't on par with the luridly iconic, mercilessly machine-gunning home-invasion sleaze-fest, 'Almost Human', it still manages to dutifully deliver the requisite amount of breathless thrills an' bellicose blood-spills to effectively embellish the tired plot machinations; with red-beanie-wearing, gleefully anti-social anti-hero, Milian playing volatile ex-biker cop, Rambo!!!, whose singular penchant for righteous revenge is entirely apropos, and 'Rambo' is given ample opportunity for slow-motion, blood-squibbing, jaw-cracking, justice-seeking spectacle, once he disturbingly discovers to his escalating chagrin that his beloved brother has been slain by foes nefarious!

Rambo's relentless retribution is fuelled by the ecstatic crime funk of maestro, Franco Micalizzi, his deliciously infectious grooves galvanizing all the the numerous health and safety-taunting bike chases, nimble numb-skull battery, and ubiquitous ballistic overkill one expects from the murderously entertaining, delightfully dizzying milieu of 70s Euro-crime! Even with its discernible dearth of excruciatingly elaborate ultra-violence, 'Syndicate Sadists' makes for a highly entertaining, exploitative riff on Dashiell Hammett's classic 'Red Harvest', and ardent, Lenzi/Milian/poliziotteschi aficionados shouldn't be too disappointed, although, to be fair, it falls somewhat short of living up to its blood an' thunder moniker! So, perhaps, not ideal for Euro-crime newbie's, but if you keep your expectations low, 'Syndicate Sadists' is not without amiable grubby charm, and, I, for one, could happily watch, Milian merely open an envelope, caring not one measly jot if he refused to push it into pastures new!

Syndicate Sadists is yet another film based on Dashiel Hammett's novel Red Harvest which was adapted more famously by Akira Kurosawa in Yojimbo and Sergio Leone in A Fistful of Dollars, amongst many others, but it also has some other intriguing origins. Its star Tomas Milian while filming in the US, picked up a cheap novel at the airport by David Morrell entitled First Blood a tale of a special forces soldier by the name of John Rambo, Milian was intrigued by the character but wanted to stay away from violent sadistic roles he had become famous for in films like Milano odia: la polizia non può sparare (1974). So together with Lenzi and Luciano Martino they agreed to blend both stories together in a modern crime drama. While the film has some resemblances to both films its different enough to stand alone as an interesting film. Milian is excellent as the odd, scruffy biker with a heart, that turns to violence to avenge the murder of his brother by one of a group of rival crime gangs, he was investigating. Milian decides to play both sides against each other, his unkempt image, floppy red hat and large goggles, perhaps luring the criminals into a false sense of security that costs them dearly in some increasingly violent confrontations. Not Milian or Lenzi's best but still very watchable. Joseph Cotten also puts in a turn as one of the crime bosses, in what surely must be THE most wooden performance by the man ever, at one point he actually looked like a Gerry Anderson puppet…no really! For once the Italian didn't steal an idea, they had Rambo first. Oh and watch out for an homage to Steve McQueen.[

Syndicate Sadists is yet another film based on Dashiel Hammett's novel Red Harvest which was adapted more famously by Akira Kurosawa in

Yojimbo and Sergio Leone in A Fistful of Dollars, amongst many others, but it also has some other intriguing origins. Its star Tomas Milian while filming in the US, picked up a cheap novel at the airport by David Morrell entitled First Blood a tale of a special forces soldier by the name of John Rambo, Milian was intrigued by the character but wanted to stay away from violent sadistic roles he had become famous for in films like Milano odia: la polizia non può sparare (1974). So together with Lenzi and Luciano Martino they agreed to blend both stories together in a modern crime drama. While the film has some resemblances to both films its different enough to stand alone as an interesting film. Milian is excellent as the odd, scruffy biker with a heart, that turns to violence to avenge the murder of his brother by one of a group of rival crime gangs, he was investigating. Milian decides to play both sides against each other, his unkempt image, floppy red hat and large goggles, perhaps luring the criminals into a false sense of security that costs them dearly in some increasingly violent confrontations. Not Milian or Lenzi's best but still very watchable. Joseph Cotten also puts in a turn as one of the crime bosses, in what surely must be THE most wooden performance by the man ever, at one point he actually looked like a Gerry Anderson puppet…no really! For once the Italian didn't steal an idea, they had Rambo first. Oh and watch out for an homage to Steve McQueen.[

Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another.

The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!

A decidedly lighter tone lingers in Tomas Milian and Umberto Lenzi's next pairing after the dark and demented MILANO ODIA. This time around, Milian plays Rambo, a drifter who rides on a motorcycle from town to town teaching things to kids and reluctantly getting involved in anti-gang activities. Once his goofball security guard friend gets killed after snooping around a little too close to a kidnapping scheme, Rambo decides to hatch his own Yojibo-like plan to get all the local gangs to kill each other. However, they unexpectedly prove slightly smarter than you'd expect and end up teaming up to fight together against our hero, albeit with no better results than they'd have otherwise.

Right from the get-go, I knew it was going to be good just judging by the opening credits and how many of the usual "Euro-Henchmen" receive top billing. Riccardo Petrazzi, Adolfo Lastretti, Bruno Di Luia, Mario Novelli, Benito Pacifico, Claudio Ruffini, Giuseppe Castellano, and Luciano Pigozzi would go on to make type-cast careers as henchmen and goons throughout the rest of the 70's owing largely to how well this movie worked out. Even Antonio Casale, the "Brion James" of Italian 70's crime movies, pops by to lend us another sweaty, ugly face for our hero to beat to a pulp and put a bullet in. Sadly we're missing only Nello Pazzafini, Biagio Pelligra, Bruno Corazzari, any Dell'Acqua's, Peverello's, or Sal's Borghese and Billa. Toss in a Sergio Smacchi and our henchman reunion would be complete.

With all the potential and solid cast of villains for Rambo to beat up and shoot, the film doesn't quite hit the high notes that later films like VIOLENT NAPLES or ROME ARMED TO THE TEETH would the next year. There's a distractingly silly Micalizzi score and the plot contains enough holes and slow spots to take this down a notch. Best for genre completists or those interested in seeing the true genesis of Milian's later "Nico Giraldi" character. Notable mostly for a demented scene in which a female character gets unintentionally beaten to death by a gang of clueless hit-men.