Cães Raivosos

Far better than I remember from a viewing a few years back, this is a taught and most assured thriller from Bava. What it lacks in colour and theatricality from a lot of his work it certainly makes up for in down right dirty gritty realistic nastiness. These ruthless robbers are quite clearly capable of anything and we never for a moment doubt the sincerity of their various threats of violence and worse. For most of the film the action is confined within a car and with these mixed and varied characters, becoming more desperate all the time, the tension is considerable. George Eastman is at his most manic and some of the close-ups of him and his immediate sidekick are really scary. Riccardo, beautifully underplayed, in contrast to the rest, is hijacked in his car and together with a sick child and a woman hostage are forced to endure a remarkable journey, incredibly well paced. Full of surprises, but nasty all the time, this brutal outing from the master is well worth seeing.

After the heist of the payment of the employees of a chemical industry where the treasurer and a security guard are murdered, the driver of the runaway car of the criminals Dottore (Maurice Poli), Bisturi (Don Backy) and Trentadue (Luigi Montefiori) is shot and a bullet hits the gas tank. The car runs out of gas and the trio is forced to run to the parking lot of a mall where they kill one woman and kidnap her friend Maria (Lea Lander) and use her car to escape from the police. They are chased by the police but they carjack the car of the middle-aged Riccardo (Riccardo Cucciolla), who is driving his unconscious ill son to the hospital for an emergency surgery. They force the calm RIccardo to drive them out of the city using secondary roads to escape from the blocks in the highway. During the trip, the tension increases but Riccardo and Dottore manage to control the situation until an unexpected conclusion.

"Rabid Dogs" is a masterpiece of tension and suspense by Mario Bava. The immediate association that I made was with the famous Quentin Tarantino's "Reservoir Dogs" that is visibly inspired in this movie, but less realistic and tense. This is the first time that I have seen "Rabid Dogs" and the dialogs and situations are still very impressive; imagine thirty-five years ago the impact of this movie. The claustrophobic location inside a car where most of this feature was shot transmits the horror of Maria with the cruelty and sadism of Bisturi (that means scalpel and not blade) and Trentadue. The final twist is totally unexpected but makes a perfect sense to the plot. Now I intend to see the restored version "Kidnapped" also available on the DVD. My vote is nine.

Title (Brazil): "Cães Raivosos" ("Rabid Dogs")

Note: on 19 June 2020 I saw this film again.

The master of Italian Horror, Mario Bava, makes a heist film that is equal parts violent, ironic and vulgar, most of which takes place in the claustrophobic atmosphere of a small car. Three robbers shot their way out of a police blockade by taking a woman hostage. They soon hijack a small automobile with a man and a sick child. Tension builds as power plays amid the crooks and escape attempts by the hostages lead to a violent conclusion which is both unexpected and ironic. Ranks with Dog Day Afternoon and Reservoir Dogs as a unique and disturbing heist film, with several scenes designed to make you squirm. A must for fans of both Bava and the genre.

It is ironic that Mario Bava, master of Italian fantasy, should make a gritty, realistic thriller as his last film. Gone are the atmospheric lighting that made films as Lisa and the Devil and Kill, Baby, Kill! so unforgettable. The claustrophobic scenes in the getaway car are expertly handled. The increasing hysteria of the gangsters and the anxiety and despair of the kidnapped woman are, in true Italian fashion, slightly over the top. It works, though. Bava never loses his grip on the situation and one is kept on tenterhooks throughout. This, then, is classic 70's low budget filmmaking and it is a shame we had to wait for more than 20 years to finally see it. Rabid Dogs is up there with Edgar G. Ulmer's Detour and Ida Lupîno's The Hitch-Hiker as one of the best examples of this exciting subgenre.

In only the first half hour, Rabid Dogs has more tension and psychological insight into the criminal mind than all of Reservoir Dogs making Tarrantino look like an amateur. Even Scorese has admitted the influence of Bava, this movie has Mean Streets starting to look pale in comparison. The master cinematography, confined setting, brilliant camera angles, and editing brings to mind some of Orson Welles best laid out scenes. This all presides over a backdrop of overwhelming despair abundant in nihilism which begs yet another comparison to another admitted admirer, David Lynch, who looks like a student to the teacher - the breadth of brechtian super realism truly achieves it peak, of which an entire generation of filmmakers have aspired to, including Fellini - all of whom had never had the chance to see the film until the late nineties. The movie crashes through the fourth wall and the viewer becomes a passenger in this unfortunate circumstance. The film is a tribute to the genius of Mario Bava and in a way the culmination of all his talent and influence neatly compacted into a ninety minute film school. One of the finest crime dramas ever made. The intricate dialog which illustrates a pure hatred of life and total lack of respect of all that is good - even makes one start to question if Coppola missed the boat with the Godfather a little bit in making his characters a little too heroic and romantic, rather than the base individuals they are supposed to portray. One comes from this film with a horror of the criminal rather than a wish to emulate. In this real time robbery, murder and car-jacking, Bava takes us to the precipice, the edge of reason and finally beyond all semblance of humanity.