Section de choc

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, or COLT 38 SPECIAL SQUAD, provides a superior specimen of the Italian polizioto of the 1970's, with French actor Marcel Bozzuffi as Inspector Vanni, whose wife is shot dead in his early teens son's presence, and is out to wreak revenge come what may. Director Massimo Dallamano seems uninterested in character development: for instance, you do not get to see Vanni's tearful son again, you have no idea whether Vanni handed him over to relatives or to an institution while he chases the culprits, notably crime kingpin Marsigliese, to their deaths.

Basically everyone is cannon fodder, regardless of whether you serve the law or the criminal forces. In between, Vanni is ordered to stay off the hunt, and to go on leave, but he could not give a flip about the boss and his orders - Vanni is obsessive about payback!

Certainly, the viewer does get to watch action pretty much nonstop. Whatever dialogue you hear is quick, often under bated breaths, and the pace is frenetic, with chases in cars and on foot aplenty.

Typical washed out color and basic 1970s cinematography by to me unknown Gabor Pogani, effective editing by Antonio Siciliano, and fitting score by Stelvio Cipriani.

The script could have taken COLT 38 to greater heights with closer attention to character development, cause and effect logic... but it ain't no waste of time! 7/10.

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...

Captain Vanni(Marcel Bozzuffi)kills the brother of the vicious crime boss Marsiglese a.k.a. Black Angel(Ivan Rassimov)during warehouse shoot-out.Angry Marsiglese murders Vanni's wife in front of their kid.After the funeral his superiors decide to create special team of four motorcycle riding cops with Colt 38 pistols.Marsiglese returns to Torino with a gruesome plan which involves explosives hidden in suitcases plus plenty of ordinary people killed during detonations in public places.Very violent and exciting Italian polizioteschi flick with fantastic car/motorcycle chase sequences and some spectacular explosions.The acting by Marcel Bozzuffi and Ivan Rassimov is great as is the score of Stelvio Cipriani.8 Colt 38 pistols out of 10.

"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.