Quelli della calibro 38

Italian cult cinema can be so deliciously rudimentary and effective from time to time. The whole basic concept of "Colt .38 Special Squad", for instance, is simply to exploit the immense success of the Hollywood classic "Dirty Harry" and expand it by throwing in an entire squadron of ruthless & trigger-happy coppers! Add to that an evil villainous character, a staggering soundtrack by Stelvio Cipriani and a handful of extremely violent sequences and we've got ourselves a bona fide Italian Poliziotteschi cult hit! Chief inspector of police Vanni is on the hunt for über-criminal Marsigliese and shoots his brother during a confrontation. Purely to make a statement, Marsigliese savagely executes Vanni's wife right before the eyes of his 6-year-old son. After this tragic incident, Vanni receives permission from his superiors to put together a special squad that doesn't have to follow the book of instructions and with the liberty of using heavier gun power. The squad immediately has its hand full, as Marsigliese's accomplices just stole a cargo-load of explosives and terrify the city with a number of bloody bomb attacks. "Colt .38 Special Squad" is a highly entertaining and action-packed Italian cop thriller, but personally I don't rank it alongside my absolute favorites of the genre. The reason for this is merely the lack of a monumental heroic character. Even though he starred in the popular blockbuster "The French Connection", lead actor Marcel Bozzuffi plainly doesn't have the tough and invincible charisma of other Italian cop characters such as Maurizio Merli, Luc Merenda or Franco Nero. He himself is a rather inconspicuous guy, and none of his squad team members are anything special either. In fact, they are so bleak and random that I often forgot their faces or mistook them for secondary petty thieves. Ivan Rassimov, on the other hand, is very memorable as Marsigliese and literally everything you expect from a devilish gangster boss! The film also contains multiple moments of uncompromising and shocking violence, like the aforementioned execution, a nasty hit-and-run accident and packages blowing up in people's faces. You can always count on Poliziotteschi movies for gratuitous bloodshed! This was – sadly - the last accomplishment of writer/director Massimo Dallamano before he died in a car accident. To me, Dallamano will always remain the genius creator of the greatest Italian giallo ever made ("What have you done to Solange?), but he also made the excellent psychedelic horror flicks "Devil in the Flesh" and Oscar Wilde's "The Picture of Dorian Gray".

Slightly above-average and pretty bleak poliziottesco; it came, more or less, halfway through the run of the genre and, while well enough made, it is also curiously undistinguished (though buoyed by a typically great pounding score by Stelvio Cipriani and expert cinematography by Gabor Pogany). The “Special Squad” of the title is a hand-picked team of fearless cops determined to fight the most nefarious criminal minds – their prowess and agility gives rise to plenty of exciting chase sequences (cue the remarkable stuntwork which often came in handy within this particular genre) but only one of them is really well-defined as a character.

However, there’s also the topical element of terrorism – exemplifying such heinous acts as plagued the country during this era – with a couple of spectacular but harrowing explosions in public places. The film is given a nice boost by having Marcel Bozzuffi, best-known for playing the criminal pursued by Gene Hackman in THE FRENCH CONNECTION (1971), essaying the role of the iconoclastic cop this time around! Carole Andre', a regular starlet in Italian films of the time, is somewhat wasted as the long-suffering moll (though leading an outwardly luxurious life) of one of the hoods; her one attempt to stand up to the gang, plus her innocent involvement with a member of the Squad, seals her fate and she’s eventually marked for death. Ivan Rassimov is the dour villain, typically given a fashionable name (Il Marsigliese) and who engages throughout in a cat-and-mouse game with Bozzuffi – the former had killed Rassimov’s brother in a run-in with the police, and the criminal reiterated by murdering Bozzuffi’s spouse. The final showdown (with Bozzuffi predictably turning up to execute Rassimov just when it seems he’s likely to get away) is swift but nonetheless effective; disappointingly, they share no real confrontation scene.

Unfortunately, this turned out to be director Dallamano’s last film; he died some time after the end of shooting in a car accident! Also, Grace Jones makes an unremarkable early appearance here as a nightclub singer. The No Shame Limited Edition DVD is quite splendid: not only because of the shining transfer of the film itself and some wonderful supplements – fascinating interviews with both editor Antonio Siciliano and composer Cipriani – but also the fact that it includes a bonus feature on a second disc, namely Luciano Ercoli’s own swan-song called THE RIP-OFF (1978), actually a poliziottesco spoof once thought lost and which I’ll get to in due time...

While not the shiniest star in the euro-crime lineup, this film features lots of tense thrills and the most impressive car stunts you'll see this side of William Friedkin.

Marcel Bozzuffi makes for an interesting hero, not having the classic good looks of, say, Franco Nero, Fabio Testi, or Maurizio Merli. He DOES however know how to carry an emotional performance, playing the role perfectly of a motivated police inspector pushed even further to the edge by the cold-blooded murder of his wife.

Bozzuffi imposes a pretty heavy carbon footprint with his 4-man squad of hotshot stuntman policemen on noxious motorcycles. One of them in particular gets to play dashing playboy and involve himself with TWO women of interest who just happen to have a connection to an ex-con (Antonio Marsina) they're trying to catch before he and Ivan Rassimov succeed in blowing up the city with non-nuclear suitcase bombs. Was this hotshot hero aware of these girls' proximity to villains or just fell into relationships with them as part of a heavily unlikely coincidence? The film doesn't really ever tell you, covering up its many plot holes and contrivances with stylish chase scenes, fist fights, a couple gun battles, explosions, and a surprise gore scene for when a poor criminal tries (unsuccessfully) to grab onto an escape car.

While genre fans may be disappointed to see so few of the regular stock of Euro-henchmen get whacked this time around, we do find solace in having Ivan Rassimov take up so much screen-time in his most demented role yet as a psychopathic anarchist out to collect a heavy ransom at all costs with no qualms about murdering anyone and everyone in his way or on his own side. He becomes so tied to his detonator murder- mobile (complete with ominous and catchy Stelvio Cipriani theme) that you'll never look at a French Citroen the same way again. Between him, Marsina, and a particularly icky-looking Franco Garofalo, the villains of this film all come off as particularly loathsome, giving the audience plenty to celebrate should they be bumped off.

Fans of motorcycle exhaust, dangerous crashes, colt .38 shooting, and hand-held shots of public bomb explosion aftermath will get a kick out of this movie. Dallamano took this genre seriously and thankfully avoids most of the idiocy inherent among other films of the Italian Motorcycle Cop subgenre. Also be sure to check out the spiritual successor to this film, STUNT SQUAD, which came the next year for more of the same. Unfortunately Dallamano didn't return to direct it... 'cuz he died.

Most notable for its very prescient casting of a pre-famous Grace Jones as a nightclub singer (singing a Stelvio Cipriani song no less, only to later pop up in NIGHTMARE CITY) and far worse dubbing than usual from the regular gang of English language voice actors you'll hear in Italian movies. I suppose it was more difficult to read and match actor lip-movements while they're behind reflective glass via projector in a 1970's Roman soundbooth than it is on an HD television in 2017, so Ted Rusoff and the gang get a bit of a pass from me on this one. His stellar voice performance for Bozzuffi on the English track more than makes up for it.

Quelli della calibro 38 (1976) turns out to be interesting and plenty of vivid action , suspense and thriller . Marcel Bozzuffi's nice performance as two-fisted Inspector Vanni, the brave and taciturn inspector who utilizing his long pistol kills baddies , acting as a judge , jury and executioner . It packs intrigue , violence, action-filled and being a really effective film. A nail-biting thriller in which Inspector Vanni (Marcel Bozzuffi) attempts to bring Turin's most powerful crime lord and psychotic murderer to justice. That's why the police commissioner forms a well-trained secret motorized brigade in order to fight a dangerous terrorist who is depositing bombs throughout the city of Turin. Vanni attepts to track down Marsigliese/Black Angel (Ivan Rassimov), his henchman Guido Pugliese (Antonio Marsina) and other hoodlums in an effort to catch them at whatever cost, as he'll stop at nothing to get it . Vanni pursues the revenge-obsessed series killer and encounters he has more problems with him than he expected and eventually taking the law into his own hands . Rule-breaking Vanni strides grimly throughout Turin in pursuit the murderous, including thrilling pursuits, motorcycles and car chases . Whatever your reservations about Vanni's expeditious methods we know he'll always vanquish, shooting in cold blood with his pistol: 'calibro 38'. Inspector Vanni makes Dirty Harry look like Mr. Clean! .He lives by the law - Vanni's Law .Vigilante enforcers - lurking in the dark... waiting to kill!

Effective installment in Poliziesco genre is still gripping and moving. 'Poliziesco' or Poliziottesco' was an Italian popular genre from Seventies , whose main representatives were: Maurizio Merli, Franco Nero, Fabio Testi or Tomas Milian, that include notorious films as Street Law (1973), High Crime (1974), Milano odia: la polizia non può sparare (1974), Free Hand For a Tough Cop (1976) , Brothers Till We Die (1978) , From Corleone to Brooklyn (1979), Poliziotto solitudine e rabbia (1979), Speed cross (1980), Speed driver (1980), they were the most successful and brutal of these kinds of thrillers. Quelli della calibro 38 (1976) stars Marcel Bozzuffi who plays adequately the two-fisted, rule-bending Inspector Vanni, while seeks vengeance, chases mobsters and a maniacal, trigger-happy assassin called Black Angel. Bozuffi already played a classic thriller: 'William Friedkin's French Connection', performing a nasty mobster. As iconoclast , tough cop Vanni/Bozuffi) tries to detain the vicious killer and other cronies who are kidnapping, exploding bombs in markets, bus station and other public places, he takes on criminals determined to bring them to justice, even if he has to break some rules. Co-starring as a ruthless villain is Ivan Rassimov. Italian of Croatian origin Ivan had a fruitful career until his early death, although he was often cast as villains, from Nazi soldiers and gunmen to tough guys suspected of murder. Rassimov also occasionally played the good guys and saw it as a novelty in his bad guy roles. From playing a police detective, a cowboy, an archaeologist and even a psychiatrist in Mario Bava's last theatrical film Shock or Beyond the Gate (1977). Ivan starred in Giallos: Perversa Señora Ward, Vicios Forbiddenes and some Spaghetti Westerns like Django If You Want to Live... Shoot, Cowards Don't Pray, Non Spettare Django, Spara and Cjamango. He was most often seen as a male hero of Italian cannibal films acting alongside Me Me Lai in three of them, the most notable being Man from Deep River, Jungle Holocaust and Eaten Alive. Fine main and support cast giving acceptable , tough some exaggerated interpretations . Good secondary cast -usual in B Italian genres- gives cool performance, such as: Carole André (of Kabir Bedi's Sandokan series), Riccardo Salvino, Antonio Marsina , Franco Garofalo and brief apperance from Grace Jones singing a a disco-song.

Quelli della calibro 38 (original title) or Colt 38 Special Squad(English) or Section de choc (France) (1976) is a formula thriller with plenty of action , crisply edition , tension, intrigue , suspenseful and lots of violence in exploitation style. There are images of strong violence, bone-chilling shootouts and impressive car and motorcycle chases, with spectacular races of vehicles bouncing through the air and a 'Sinca' car at full speed going through the fields and along a transport train. Special mention for the stinging , stabbing musical score by Stelvio Cipriani. As well as atmospheric and adequate cinematography by Gábor Pogány , shot completely in Turín, Italy and Monaco . The motion picture was competently written and directed by Massimo Dallamano or ¨Max Dillman¨ in his last one, after a long career both cameraman and director. Compellingly mafde by Massimo Dallamano , he turned to cameraman to director of Spaghetti Westerns and polizieschi , which rejuvenated his confidence and his popularity . He previously photographed ¨Fistful of dollars¨and ¨For a fistful dollars more. Dallamano managed to make a fluid , witty and agreeable Giallo titled La morte non ha sesso (A Black Veil for Lisa) . He also proved his experience in thriller and other Giallo movies , such as : "What Have You Done to Solange?" , "The Cursed Medallion" ,¨Portrait of Dorian Gray ¨ , "Mafia Junction" , "What Have They Done to Your Daughters?" or "The Coed Murders" , among others . "Colt 38 Special Squad" Rating 6/10. Well worth watching . The flick will appeal to Poliziesco enthusiasts.

"Quelli della calibro 38" (1976), directed by Massimo Dallamano, is an Italian crime thriller that packs a punch with its gritty narrative and stylish execution. Earning a solid 7/10, this film stands out as a notable entry in the poliziottesco genre, blending intense action with a keen sense of atmosphere.

Set against the backdrop of a crime-ridden Milan, the film follows Commissioner Vanni (Marcel Bozzuffi) as he battles against a ruthless gang terrorizing the city. Vanni is a classic tough-as-nails cop, embodying the relentless determination and moral ambiguity typical of protagonists in this genre. Bozzuffi's performance is compelling, exuding a raw intensity that anchors the film.

Dallamano, known for his sharp directorial style, crafts a world that feels palpably dangerous and alive. The cinematography captures the urban decay of Milan, with its shadowy alleyways and bustling streets, creating a visually striking setting for the unfolding drama. The film's pacing is brisk, maintaining tension throughout with a series of well-executed action sequences and taut confrontations.

One of the film's strengths lies in its supporting cast. The villains are suitably menacing, with a standout performance by Ivan Rassimov as the cold-blooded gang leader. The dynamic between the characters adds depth to the narrative, elevating it beyond a simple cops-and-robbers tale.

The soundtrack, composed by Stelvio Cipriani, deserves special mention. Its pulsating rhythms and dramatic scores perfectly complement the film's tone, enhancing the sense of urgency and danger that permeates each scene.

However, "Quelli della calibro 38" is not without its flaws. The plot, while engaging, occasionally dips into predictability, relying on familiar tropes of the genre. Some of the dialogue feels stilted, and the character development, particularly of the secondary characters, could have been more fleshed out.

Despite these minor shortcomings, the film succeeds in delivering an engrossing and atmospheric crime drama. It captures the essence of the poliziottesco genre, with its blend of action, drama, and stylistic flair. Fans of Italian crime cinema will find much to appreciate in Dallamano's work, from the gritty realism of its setting to the intensity of its performances.

In conclusion, "Quelli della calibro 38" (1976) is a commendable entry in the realm of 1970s crime thrillers. With its gritty narrative, strong performances, and stylish direction. It's a film that, despite its occasional predictability, manages to grip its audience and deliver a memorable cinematic experience.