Fast paced, violent and innovative crime thriller with director Castellari and star, Franco Nero on top form. This becomes a little complicated in the middle when there is some jockeying for position between baddies but it finishes well and that start! The great cinematography is evident from the beginning of the credits when from behind the titles we see the gradually enlarging exit to a shipping tunnel. As soon as we dock the chase is on as the suspected drug dealer is chased around the streets by good cop Nero. And what a chase, now I'm no great fan of such things that can in my opinion be overused as padding, but here is a real thrill, and so it goes on for much of the film. Not much time for romance and just the briefest nudity before we are back on the hectic and all consuming search for Mr Big. Lots of references to corruption, communism and general unrest all add to the atmosphere. Have only had the chance to see this dubbed so a subtitled print would be good to see some time.
18 Reviews
Calm down...
unbrokenmetal26 July 2020
Mind you, I liked the collaborations between director Enzo G Castellari and his star Franco Nero a lot, usually. But in this movie, Nero pushes the restless energy of his character Belli to such a degree that he explodes with rage every two minutes, and about ten times in the movie, his colleagues have to tell him to 'Calm down, Belli!'. This is not anger, but rather impatience to a ridiculous degree. Instead of careful investigation to collect sufficient proof, Belli just gets involved in several shootings to progress (or maybe not) on the case. The quiet, but intense performance of Fernando Rey enhances the effect of hasty and thoughtless action by his counterpart. Belli is just no commissioner the audience can identify with, Nero appears to be a cross between a Duracell bunny and Charlie Bronson on a bad day. I still voted 6 of 10 because the pacing of the movie keeps you on the edge of your seat, regardless.
"II'll crush you like a bug!"
Bezenby30 November 2010
Warning: Spoilers
This was my introduction to Poliziotteschi films, and also my introduction to Enzo G Castellari, who in my opinion may be the greatest Italian director of the 70s and 80s. I can't get enough of this guy's films! In fact, when I started watching this, a large beam of light focused on me and a voice said "Spend cash on all my movies, chosen one."
This was a rubbish video transfer copy of High Crime that I picked up for a quid, but even the washed out look and occasional flicker couldn't detract from the greatness of this movie. It's proof that beyond zombie flicks and slasher movies, there's a whole world of groovy Italian films out there.
A mysterious man is taken from Marsielles to Genoa, and before he can go about his business, he's on the run from the cops, led by Comissioner Belli (Nero). The chase soon switches from foot to car, with some really dangerous looking stunts going on. There's one shot where the cars are heading straight for the cameraman, then abruptly cuts away. Hope the guy survived. If not, then he died contributing towards a good cause. Who knows in these films.
Belli gets his man, but before he can question him a car bomb kills the guy, three cops, and a little girl. As this is an Italian movie, we get to see a burning carcass flying out of the car window when it blows up. The film has hardly started.
It seems that there's a new crime family trying to muscle in on things in Genoa, and Belli wants to get straight to the top and arrest Mister Big. Belli's boss, played by James Whitmore, knows who these guys are but due to their political connections is reluctant to do anything about it. Belli ends up getting help from an unlikely source: an ailing mafia boss who's own men are starting to switch sides, a man who also seems to be obsessed with using metaphors and analogies littered with animal/insect/eating imagery. He's cool though, and his sidekick was alright too.
The problems facing Belli and numerous: who is the real Mister Big? Who can he trust? Every time he thinks he's got to the top, the suspect is murdered. Worse still, the deeper he gets the more his loved ones are put at risk. Does he risk all or heed the repeated warnings to back off? This being an Italian film, do you think anyone at all will be alive at the end of the film?
There's hardly a minute wasted in High Crime. A constantly shifting storyline that flys through its running time, switching scenes at an alarming rate, and only slightly getting confusing once all the characters are introduced. By that point, however, people start getting bumped off as characters double cross each other and try to shift suspicion onto others. This is done usually in slow motion, with a kind of standard squib-or-no-squib-at-all technique that is also prevalent in Italian war movies.
Aside from the funky soundtrack, there are two main factors that make this film a classic: Castellari and Nero. The direction is flawlessly high energy: even dialogue scenes are infused with nervous hyperactivity. There's good use of slow motion, especially when main characters are assassinated, plus plenty of bizarre camera angles, shaky cam, and some shots that reminded me of spaghetti westerns. Everyone is kind of sleazy, and you can't help applaud when a guy with a slight squint sniffs some smack, turns to the camera and mutters 'pure snow'.
He doesn't shy away from the violence either. One character is killed by meathooks, another has his head run over by a bike, then gets castrated, a kid gets run over and dragged along the road, and in one stand-out scene, Massimo Vanni gets shot in the balls in slow motion! When Massimo Vanni turns up in a film he always does two things - a couple of stunts, and a mini massacre, then a (sometimes) gory death. He's class. Watch for him in Street Law, Bronx Warriors, Big Racket, Bronx Warriors 2, Zombie Flesh Eaters 2 (and 3!) and other films I've forgotten. I befriended a stray dog when staying in Sorrento last year, and someone had gone out their way to buy this dog a tag naming him Massimo. I knew there and then it was a tribute to Massimo Vanni.
Franco Nero is the icing on the cake. The guy acts his socks off here. Belli does three things: chasing people, shouting and slapping people around. When he's not doing one he's doing another. He shouts at the bad guys, his colleagues, even his girlfriend. He slaps six different people around. The guy literally cannot sit still. His agitation at the ever elusive Mister Big comes out in flailing hands and stamping feet, gnashing of teeth and bursting into rooms. When the film calls for him to be more calm and emotional, he can do that too. Then he slaps more people around and kills them.
This is a brilliant film, and it feels somehow epic even though it lasts just over 90 minutes. If they remade it today in Hollywood it would last 4 hours and be Shiite.
This was a rubbish video transfer copy of High Crime that I picked up for a quid, but even the washed out look and occasional flicker couldn't detract from the greatness of this movie. It's proof that beyond zombie flicks and slasher movies, there's a whole world of groovy Italian films out there.
A mysterious man is taken from Marsielles to Genoa, and before he can go about his business, he's on the run from the cops, led by Comissioner Belli (Nero). The chase soon switches from foot to car, with some really dangerous looking stunts going on. There's one shot where the cars are heading straight for the cameraman, then abruptly cuts away. Hope the guy survived. If not, then he died contributing towards a good cause. Who knows in these films.
Belli gets his man, but before he can question him a car bomb kills the guy, three cops, and a little girl. As this is an Italian movie, we get to see a burning carcass flying out of the car window when it blows up. The film has hardly started.
It seems that there's a new crime family trying to muscle in on things in Genoa, and Belli wants to get straight to the top and arrest Mister Big. Belli's boss, played by James Whitmore, knows who these guys are but due to their political connections is reluctant to do anything about it. Belli ends up getting help from an unlikely source: an ailing mafia boss who's own men are starting to switch sides, a man who also seems to be obsessed with using metaphors and analogies littered with animal/insect/eating imagery. He's cool though, and his sidekick was alright too.
The problems facing Belli and numerous: who is the real Mister Big? Who can he trust? Every time he thinks he's got to the top, the suspect is murdered. Worse still, the deeper he gets the more his loved ones are put at risk. Does he risk all or heed the repeated warnings to back off? This being an Italian film, do you think anyone at all will be alive at the end of the film?
There's hardly a minute wasted in High Crime. A constantly shifting storyline that flys through its running time, switching scenes at an alarming rate, and only slightly getting confusing once all the characters are introduced. By that point, however, people start getting bumped off as characters double cross each other and try to shift suspicion onto others. This is done usually in slow motion, with a kind of standard squib-or-no-squib-at-all technique that is also prevalent in Italian war movies.
Aside from the funky soundtrack, there are two main factors that make this film a classic: Castellari and Nero. The direction is flawlessly high energy: even dialogue scenes are infused with nervous hyperactivity. There's good use of slow motion, especially when main characters are assassinated, plus plenty of bizarre camera angles, shaky cam, and some shots that reminded me of spaghetti westerns. Everyone is kind of sleazy, and you can't help applaud when a guy with a slight squint sniffs some smack, turns to the camera and mutters 'pure snow'.
He doesn't shy away from the violence either. One character is killed by meathooks, another has his head run over by a bike, then gets castrated, a kid gets run over and dragged along the road, and in one stand-out scene, Massimo Vanni gets shot in the balls in slow motion! When Massimo Vanni turns up in a film he always does two things - a couple of stunts, and a mini massacre, then a (sometimes) gory death. He's class. Watch for him in Street Law, Bronx Warriors, Big Racket, Bronx Warriors 2, Zombie Flesh Eaters 2 (and 3!) and other films I've forgotten. I befriended a stray dog when staying in Sorrento last year, and someone had gone out their way to buy this dog a tag naming him Massimo. I knew there and then it was a tribute to Massimo Vanni.
Franco Nero is the icing on the cake. The guy acts his socks off here. Belli does three things: chasing people, shouting and slapping people around. When he's not doing one he's doing another. He shouts at the bad guys, his colleagues, even his girlfriend. He slaps six different people around. The guy literally cannot sit still. His agitation at the ever elusive Mister Big comes out in flailing hands and stamping feet, gnashing of teeth and bursting into rooms. When the film calls for him to be more calm and emotional, he can do that too. Then he slaps more people around and kills them.
This is a brilliant film, and it feels somehow epic even though it lasts just over 90 minutes. If they remade it today in Hollywood it would last 4 hours and be Shiite.
A nice "Poliziottesco" well coproduced by Italy/Spain/France with thrills, crossfire and lots of violence
ma-cortes15 December 2021
A criminal fiction with suspense , intrigue , frantic action , turns , a lot of twisted incidents , at the same time charged with tension and high level staging which the viewer could really enjoy . Stars an Italian police inspector called Belli (Franco Nero) , he is a man of action who'll stop at nothing to get his purports and at whatever cost , as he takes on a powerful European drug ring resulting in fateful consequences , at the same time he gets advices from a former criminal mastermind , Cafiero (Fernando Rey) . Along the way , Belli is reproved by his superior Commissioner Aldo Scavino (James Whitmore) who has compiled a dossier on mafia connections , and both of them battle hardly with organized crime.
Formula thriller with plenty of action , crisply edition , tension , intrigue , suspenseful , skin bared and lots of violence in exploitation style with reminiscent to "The French Connection" , "Dirty Harry" and ¨Charles Bronson¨films . A cop movie set in the Seventies , being realized in Italian style , and made by the prolific and cult director Enzo G Castellari . Here he delivers frenetic action , thriller and violence enough along the nail-biting flick . There is a good stuntwork with car races , biker leaping , spectacular car crashes and grisly killings , many of them shot in slow-moving . Fine entry in Poliziesco sub-genre with noisy action , thrills , shootouts , betrayals , car chases , explosions and large doses of violence . It belongs to Italian Poliziesco sub-genre , essentially developed in the Seventies and including ordinary trappings such as lasting car pursuits sequences , virulent blowing up and a lot of murders executed in cold blood . The film is interesting enough , though it has some flaws , gaps and failures . This film results to be one of the best among the whole saga of Poliziottesco that had its splendor in the Seventies and early Eighties . Main and support cast are pretty good , as Franco Nero is terrific as the tough police inspector who comes closer to the top of the underworld organization by using expeditive means against delinquents , then his odds of survival decrease . Being a French/Spanish coproduction , here appears several familiar faces at the time , as the Italian secondaries as Delia Boccardo , Massimo Vanni , Duilio Del Prete , Bruno Corazzari , Silvano Tranquilli , Benito Pacifico , Nello Pazzafini and Spanish players as Daniel Martin , Victor Israel and the great Fernando Rey of French Connection and Luis Buñuel movies , here playing a former crime boss , who spends most of his time in his rose garden . And the little girl playing hopscotch results to be Natasha Richardson , daughter of Vanessa Redgrave who has been married to Franco Nero for many years .
It contains atmospheric cinematography by Alejandro Ulloa who photographed the terror classic Horror Express . As well as thrilling and moving musical score by Guido De Angelis and Maurizio De Angelis. The motion picture was well written by ordinary Tito Carpi , Maurizio Amati , Leonardo Martín and professionally directed by Enzo G Castellari in his peculiar style. Enzo is considered to be one of the best Italian artisans, who has made a nice career, shooting all kinds such as Wartime : Counterfeit Commandos , Eagles over London. Adventures : Scaramouche, Shark hunter, Tuareg , Shark 3 . Sci-fi : Bronx warriors, Escape Bronx, Warriors of wasteland. Thrillers : Light blast, Il grand racket ,The day of Cobra, La via della droga , Forajidos 77. Terror : Diabla. Westerns : Keoma, Tedeum, 7 Winchester for a massacre, Matalos y vuelve, Johnny Hamlet, Any gun can play . Rating 6.5/10. Decent and acceptable Poliziesco that will appeal to Italian exploitation fans.
Formula thriller with plenty of action , crisply edition , tension , intrigue , suspenseful , skin bared and lots of violence in exploitation style with reminiscent to "The French Connection" , "Dirty Harry" and ¨Charles Bronson¨films . A cop movie set in the Seventies , being realized in Italian style , and made by the prolific and cult director Enzo G Castellari . Here he delivers frenetic action , thriller and violence enough along the nail-biting flick . There is a good stuntwork with car races , biker leaping , spectacular car crashes and grisly killings , many of them shot in slow-moving . Fine entry in Poliziesco sub-genre with noisy action , thrills , shootouts , betrayals , car chases , explosions and large doses of violence . It belongs to Italian Poliziesco sub-genre , essentially developed in the Seventies and including ordinary trappings such as lasting car pursuits sequences , virulent blowing up and a lot of murders executed in cold blood . The film is interesting enough , though it has some flaws , gaps and failures . This film results to be one of the best among the whole saga of Poliziottesco that had its splendor in the Seventies and early Eighties . Main and support cast are pretty good , as Franco Nero is terrific as the tough police inspector who comes closer to the top of the underworld organization by using expeditive means against delinquents , then his odds of survival decrease . Being a French/Spanish coproduction , here appears several familiar faces at the time , as the Italian secondaries as Delia Boccardo , Massimo Vanni , Duilio Del Prete , Bruno Corazzari , Silvano Tranquilli , Benito Pacifico , Nello Pazzafini and Spanish players as Daniel Martin , Victor Israel and the great Fernando Rey of French Connection and Luis Buñuel movies , here playing a former crime boss , who spends most of his time in his rose garden . And the little girl playing hopscotch results to be Natasha Richardson , daughter of Vanessa Redgrave who has been married to Franco Nero for many years .
It contains atmospheric cinematography by Alejandro Ulloa who photographed the terror classic Horror Express . As well as thrilling and moving musical score by Guido De Angelis and Maurizio De Angelis. The motion picture was well written by ordinary Tito Carpi , Maurizio Amati , Leonardo Martín and professionally directed by Enzo G Castellari in his peculiar style. Enzo is considered to be one of the best Italian artisans, who has made a nice career, shooting all kinds such as Wartime : Counterfeit Commandos , Eagles over London. Adventures : Scaramouche, Shark hunter, Tuareg , Shark 3 . Sci-fi : Bronx warriors, Escape Bronx, Warriors of wasteland. Thrillers : Light blast, Il grand racket ,The day of Cobra, La via della droga , Forajidos 77. Terror : Diabla. Westerns : Keoma, Tedeum, 7 Winchester for a massacre, Matalos y vuelve, Johnny Hamlet, Any gun can play . Rating 6.5/10. Decent and acceptable Poliziesco that will appeal to Italian exploitation fans.
Better than "The French Connection"....
gridoon12 September 2002
....but that doesn't say much. Actually, it's a totally unexceptional crime story, but Enzo Castellari manages to uplift parts of it with his gimmicks and camera tricks. If Sergio Leone had directed a straight crime flick, the result might have been close to what Castellari achieves here. (**)
If your cruise ship stops at Genoa remember to take your pistol- and cigarettes!
richard_hardisty31 January 2010
Warning: Spoilers
Like an Italian version of the Sweeney (Nineteen Seventies British police show); cigarettes are there to be smoked, girlfriends are there to be slapped, trench coats are there to billow behind you like a cape as you chase your villains down the street. There are two especially memorable scenes, which make this film. A short but almost Italian Job-esquire car chase through the streets of Genoa, filmed from axle height so it looks faster, complete with an Alfa-Romeo Giulia Police car cornering so sharply that the tyres almost tare themselves off the rims. Needless to say it ends messily, with some gruesome violence that no Hollywood director would dare to film because it shows the fragility of human life (Remember always check under your car for devices...). A sophisticated dinner party, where a roving camera crew is used as a simple but effective way of introducing some of the prime suspects, complete with off the cuff comments about what these prominent citizens have to hide. Aside from this the plot is wonderfully Byzantine, leaving you wondering 'So who was it?' and an ending which leaves you thinking that nothing is going to change- which is probably what strife and Mafia torn 1970's Italy felt like.
one of the best!
sangue20 June 2000
if you have never seen an Italian crime movie, this is a great place to start. unlike many other films of this type, it actually works on an emotional level as well as being very entertaining, simular to the films of Scorsese. it's a very violent film, but none of the violence is gratuitous. lots of stylish slow motion shootings, car explosions, and people run over by various moter vehicles, and the excellent musical score by Guido and Maurizio De Angelis captures the emotion of these scenes perfectly. the cast is also very good, especialy Italian Star Franco Nero. highly recommended.
Castellari+Nero= dynamite!
den_dennis15 February 2006
Wow! This film has all that you've come to expect from a Euro Crime flick. Violent murders, long shoot-outs with machine guns, a hot-tempered police officer who loathes criminals, downright evil henchmen and much, much more. Franco Nero has lately become one of my favorite actors, and not without a reason; in this film he proves what a talent he really had. This might just be Enzo G. Castellari's best crime film. It's very nicely directed, with some very interesting camera work and the music by the De Angelis brothers is the best and most suitable score I've heard them deliver to this point. It perfectly fits in with the various situations that Nero's character finds himself in.
The only copy I could get a hold of was a region 0 release from 23rd Century (?). It does not have the best audio or video quality, but it's watchable. Availiable on Ebay as "The Marseilles Connection".
If you're a fan of either Nero or Castellari, or of course, both, this is a film you have to see!
The only copy I could get a hold of was a region 0 release from 23rd Century (?). It does not have the best audio or video quality, but it's watchable. Availiable on Ebay as "The Marseilles Connection".
If you're a fan of either Nero or Castellari, or of course, both, this is a film you have to see!
the Italian cop film which started it all...
Aylmer3 December 2000
This was the first break-through success of a Poliziotti Italian crime movie and spawned several dozen imitations. Possibly the best film ever made, High Crime delivers the goods like few other movies, blending some experimental filming and editing techniques in with some good performances, solid action sequences, great music, and some pretty stunning photography by Alejandro Ulloa. Unlike a lot of other crime flicks made around the same period, this film isn't sympathetic at all to the villains. They are cold and heartless thugs who's so anything to keep themselves out of jail where they rightfully belong. This film is completely fascist and right-wing in its undertones, yet maintains an engaging level of emotional impact throughout. The scene where Franco Nero discovers his daughter dead made me almost want to cry... and Castellari expertly handles the flashbacks and knows just when to use slow motion in all the right spots.
This wasn't the film which set the trend in Italian crime films (see Violent Professionals) but it was an excellent film which caused their widespread (yet short-lived) popularity. Certain elements (like the getting-in-car-gun-down) were endlessly repeated in the genre by Castellari himself as well as his father Marino Girolami, who totally ripped off the ending of this film in ROMA VIOLENTA, a much more typical film in the genre with Maurizio Merli, who although is not as good an actor as Franco Nero, is much more intense as the leading man in these sorts of films.
This wasn't the film which set the trend in Italian crime films (see Violent Professionals) but it was an excellent film which caused their widespread (yet short-lived) popularity. Certain elements (like the getting-in-car-gun-down) were endlessly repeated in the genre by Castellari himself as well as his father Marino Girolami, who totally ripped off the ending of this film in ROMA VIOLENTA, a much more typical film in the genre with Maurizio Merli, who although is not as good an actor as Franco Nero, is much more intense as the leading man in these sorts of films.
High Crime deserves its High Rating!
Coventry15 January 2009
In case you're looking for action cinema without restraints, boundaries, fake sentiment or political correctness, you have to aim your senses towards the so-called Italian "Poliziottesco" movies. That is a commonly known fact, or at least I always assumed so, but still this is a vastly underrated sub genre even among cult cinema fanatics. The same great names of Italian cult cinema often return, like for example those of director Enzo G. Castellari and charismatic lead actor Franco Nero. These two prodigies often worked together, but this is arguably their finest piece of work (or at least on par with the terrific western "Keoma"). The words "awesome" and "brilliant" spring to mind when witnessing a movie that opens with artsy credits and promptly continues with an exhilarating and non-stop 10 minutes (!) lasting car chase sequence and then a virulent explosion. The intro immediately sets the pace for a masterfully adrenalin-rushing and hardcore-to-the-bone cop thriller, reminiscent to "The French Connection" and "Dirty Harry" only much more outrageous. Franco Nero depicts the devoted and unstoppable police commissioner Belli, who initiates a merciless crusade to cleanse his city entirely of Mafiosi, drug couriers and corruption. Belli receives voluntary cooperation from a former crime boss, but he's undoubtedly doing it for his own benefit. The support from his superiors is minimal since several prominent citizens may be involved in dirty business and, whenever Belli reaches a major breakthrough in his investigations, they try and strike back on a personal level. The overall plot, with particularly the double-crossings and betrayals between crime gang members mutually, is extremely convoluted and often very confusing but the extended and mega-violent shootout sequences don't require a lot of thinking. The villains are truly relentless and loathsome thugs without a conscience whatsoever, but Belli isn't a wussy himself, as his investigation methods qualify as quite unorthodox as well. Without wanting to ruin things, I can safely say there are a couple of very effective sentimental and dramatic moments near the end of the film as well as some blatant shocks and "High Crime" ends exactly like it begun: with a long and fascinating explosion of violence and excitement. The score is terrific and Castellari once again proves that he's a visually very gifted director, as the stylistic trademarks are often stunning to behold.
Excellent plot, with superb acting, engaging, and unpredictable.
goldvice11 October 2000
One of Castellari's finest works. The acting is superb. Excellent usage of lighting and settings. Unpredictable turn of events and good images. There is almost nothing wrong with this film for people who are into crime dramas.
An Excellent, But Extremely Violent European Police Thriller
zardoz-1330 November 2013
Warning: Spoilers
Enzo G. Castellari's first police procedural crime thriller "High Crime" a.k.a. "La polizia incrimina la legge assolve" (1973) qualifies as violent, tragic, but memorable. The auto chases are fast and furious. The villains are thoroughgoing dastards who are prepared to kill anybody, including children. They run down our hero's daughter without a qualm in one scene. Not only do they smash into her, but they also drive over her body. Of course, obvious dummies were used in this scene as well as in the explosion scenes, but the violence is emphatic. This is like dummies pitched off a building that hit the street several floors below. A policeman on foot fires into a car barreling toward him and the criminals smash into his body. Again, the filmmakers use a dummy, but everything is done with a visceral sense of urgency that makes it exciting if not horrific. Castellari and company stage some beautiful fireball explosions that hold your attention. Spaghetti western star Franco Nero plays the energetic but frustrated Italian Vice-Commissioner Belli who will never be the same after this war with the mob. "High Crime" comes with a double-digit body count, and the significant shootings are presented in slow-motion. A high-ranking police official takes three bullets in his body when his back is turned to a heavy. You'll hate the bad guys and savor their deaths by fade-out. Although this 100-minute melodrama features a happy ending, the toll that Belli's crusade against crime takes leaves a bitter after-taste. One anonymous commentator at a download site has written that "High Crime" "was largely responsible for setting off the entire Italian crime film movement of the 70's."
"High Crime" opens with our heroic police officer arresting an elusive Lebanese drug dealer in Genoa after a careening auto chase through the city. Unfortunately, Belli doesn't keep the Lebanese in custody long before the wily criminals blow up the police car transporting his prisoner. Miraculously, Belli wasn't seated in the vehicle when it blew up and killed the Lebanese and four cops, along with a young girl playing nearby in the street. Meantime, Belli's superior, Commissioner Aldo Scavino (JamesWhitmore), wants to get adequate evidence on everybody from the bottom to the top and he is prepared to exercise patience in his battle with organized crime. Assiduously, he has compiled a dossier on mafia connections, but Belli lacks Scaviono's patience. Belli is a man of action. He consults with a former crime boss, Cafiero (Fernando Rey of "The French Connection"), who spends most of his time in his rose garden. Cafiero warns our hot-headed hero that if the mob cannot put him on ice, they will go after the people that he loves. Meanwhile, the mob ambushes Scavino as he is getting into his car in an exciting shoot-out sequence that continues when a street cop opens fire on the two killers as they flee from the scene of the crime.
"High Crime" is unforgettable.
"High Crime" opens with our heroic police officer arresting an elusive Lebanese drug dealer in Genoa after a careening auto chase through the city. Unfortunately, Belli doesn't keep the Lebanese in custody long before the wily criminals blow up the police car transporting his prisoner. Miraculously, Belli wasn't seated in the vehicle when it blew up and killed the Lebanese and four cops, along with a young girl playing nearby in the street. Meantime, Belli's superior, Commissioner Aldo Scavino (JamesWhitmore), wants to get adequate evidence on everybody from the bottom to the top and he is prepared to exercise patience in his battle with organized crime. Assiduously, he has compiled a dossier on mafia connections, but Belli lacks Scaviono's patience. Belli is a man of action. He consults with a former crime boss, Cafiero (Fernando Rey of "The French Connection"), who spends most of his time in his rose garden. Cafiero warns our hot-headed hero that if the mob cannot put him on ice, they will go after the people that he loves. Meanwhile, the mob ambushes Scavino as he is getting into his car in an exciting shoot-out sequence that continues when a street cop opens fire on the two killers as they flee from the scene of the crime.
"High Crime" is unforgettable.
Great polizia action
gareth63328 August 2009
One of the best 1970s Italian police films out there. The great Franco Nero overacts like hell in some scenes and is excellent in others (also has a terrible wardrobe in this one!) but who cares, you cant beat a bit of Nero. Pretty violent ( the attack with bailing hooks at the dockyard stands out) and its quite well plotted. Brilliant car chase at the start and it's great to see the 60's / 70's Alpha's, Lancias etc in these films and its certainly part of the attraction with them.
The alternative title of 'Marseiile Connection' is obviously trying to cash in on the French Connection, but it isn't very similar and is more action orientated. Overall i would say a very satisfying and enjoyable film.
The alternative title of 'Marseiile Connection' is obviously trying to cash in on the French Connection, but it isn't very similar and is more action orientated. Overall i would say a very satisfying and enjoyable film.
Brutal and suspenseful Italian poliziottesco.
HumanoidOfFlesh12 February 2015
"High Crime" aka "The Marseilles Connection" by Enzo G.Castellari with Franco Nero actually helped popularize the Italian cop thriller genre/poliziotteschi.The film is extremely well-acted and features plenty of brutal and bloody violence.Franco Nero plays police commissioner Belli who wants to destroy dangerous European drug ring.When gangsters kill his daughter Nero becomes an angry killing machine.I must say that I found "High Crime" utterly fascinating.It's a vicious and mean-spirited cop thriller with unforgettable moment where little girl is run over with a car.It's obvious that Franco Nero's character was an influence for Maurizio Merli's Inspector Tanzi in later poliziotteschi movies.It's a crying shame that "High Crime" is still unavailable on DVD.9 car chases out of 10.
" If they can't get you. They'll get the ones you love".
lost-in-limbo25 December 2021
Warning: Spoilers
A real mean streak, and go-for-broke attitude seeps from every pore of Enzo G. Castellari's early 70s poliziotteschi fare. How the film starts, which is at full speed with a foot pursuit turned frenetic car chase, is pretty much how it ends with a ruthless shootout. Outside of Castellari's dramatic directing style, the energy was also held together by a dogged and aggressively driven Franco Nero lead performance. He really takes it to another level. Surprise he isn't steaming from the ears during certain moments... because he really plays up the short tempered vice commissioner obviously frustrated with the legal system. His body language is animated and he constantly shouts to get his point across. A lot of it directed towards a worn out looking James Whitmore. Although one unlucky sod, after smugly questioning for a warrant got a slap happy Nero for his troubles. There's even a running theme throughout the script, where a few characters call out his anger issues. "Take it easy, Belli".
The only time he doesn't seemed flustered are the scenes of him spending time with his young daughter. A rather sweet dynamic between the two. This also gave the story varied emotional weight, and helped defined Nero's character. In doing so it help masked the perfunctory narrative that had obvious 'French Connection' influences. Even Fernando Rey comes along for the ride. So it's the typical knotty structure of reckless criminals moving in on each other, backstabbing one other and eventually taking each other out. And Nero is caught up in the middle of it all. Sometimes I got a little lost on who was playing whom in what crime syndicate, but it started falling into place as the plot thickened. Violence, sacrifice and tragedy on a continuous cycle. Nero's character learns it the hard way. His single minded vendetta comes at a cost.
The only time he doesn't seemed flustered are the scenes of him spending time with his young daughter. A rather sweet dynamic between the two. This also gave the story varied emotional weight, and helped defined Nero's character. In doing so it help masked the perfunctory narrative that had obvious 'French Connection' influences. Even Fernando Rey comes along for the ride. So it's the typical knotty structure of reckless criminals moving in on each other, backstabbing one other and eventually taking each other out. And Nero is caught up in the middle of it all. Sometimes I got a little lost on who was playing whom in what crime syndicate, but it started falling into place as the plot thickened. Violence, sacrifice and tragedy on a continuous cycle. Nero's character learns it the hard way. His single minded vendetta comes at a cost.
A winning example of the polizia genre
Leofwine_draca25 August 2016
Warning: Spoilers
This, the first of many polizia outings to pair director Enzo G. Castellari and star Franco Nero, is much more of a layered and thoughtful film than I at first imagined. As well as providing the viewer with plenty of his hard-hitting violence and trademark slow-motion in the action sequences, Castellari also carefully creates a very dark, tragic story of crime and its various victims. In many ways this is more of a human drama than a crime thriller, with the action aspects largely being confined to the latter stages of the film. Before then we see the effects of crime on the mind of ruthless cop Belli, a man obsessed with cracking some of the biggest criminals in town. Unfortunately, Belli's flawed plan to destroy the entire drugs trade is what ultimately results in his downfall - through his words and actions he finds his old work buddies being cold-bloodedly slaughtered, then finally even his own family.
The no-frills direction works well for Castellari, who imbues his film with a cold realism throughout. The backdrops often contain ugly industrial buildings and dockyards, giving the movie a harsh mechanical and inhuman setting - appropriate in that most of the cast are inhuman monsters who think nothing of slaughtering rival men in the streets in return for large sums of money. Fittingly, the music from the De Angelis brothers is appropriately moody, packed with melancholy tunes of despair and foreboding.
Castellari displays plenty of the style he delivered throughout his career, from the slow-motion deaths to the exciting action sequences which invariably make the palms sweat. Beginning with a lengthy car chase through crowded streets and ending with a large-scale shoot-out between cops and criminals in a deserted dockyard, Castellari is at the top of his game with the action and the resulting sequences are slick and very well filmed. There are also some very shocking murders in the film, all captured artistically on camera despite the cruel subject matter; a small child is crushed under the wheels of a car, a man is ruthlessly hacked to pieces with metal hooks, and in the most shocking moment, a man is shot dead in the street outside his office. This latter moment is extremely well portrayed and so intense that it left me close to tears - an excellent piece of film-making rivalled by only a few of the great directors.
The film largely revolves around the character of Franco Nero and his increasingly frantic outbursts as he is foiled by criminal masterminds time and time again. Nero is unsurprisingly excellent in the role, proving once again his worth and the reason for his international success - he really feels for his character and puts himself into the scarf, overcoat, and shiny shoes, becoming the policeman and living his life. Nero's acting becomes better and better throughout, coping especially with all of the heavy emoting required by the second half of the movie; a wonderful performance from a wonderful man.
Imported star James Whitmore, meanwhile, is similarly excellent as weary fellow cop Scavino, whose top-secret file of the crime bosses leads to his shocking demise; Whitmore actually out-acts Nero at key moments, especially with his outburst in the secluded wood which is acting at its best. Full marks to Whitmore for creating such a well-rounded and likable character. The rest of the supporting cast also put in very good performances, with some really nasty thugs, really slimy kingpins and a fine humane turn from Fernando Rey. These factors and more combine to make THE MARSEILLES CONNECTION a winning example of the Italian polizia genre.
The no-frills direction works well for Castellari, who imbues his film with a cold realism throughout. The backdrops often contain ugly industrial buildings and dockyards, giving the movie a harsh mechanical and inhuman setting - appropriate in that most of the cast are inhuman monsters who think nothing of slaughtering rival men in the streets in return for large sums of money. Fittingly, the music from the De Angelis brothers is appropriately moody, packed with melancholy tunes of despair and foreboding.
Castellari displays plenty of the style he delivered throughout his career, from the slow-motion deaths to the exciting action sequences which invariably make the palms sweat. Beginning with a lengthy car chase through crowded streets and ending with a large-scale shoot-out between cops and criminals in a deserted dockyard, Castellari is at the top of his game with the action and the resulting sequences are slick and very well filmed. There are also some very shocking murders in the film, all captured artistically on camera despite the cruel subject matter; a small child is crushed under the wheels of a car, a man is ruthlessly hacked to pieces with metal hooks, and in the most shocking moment, a man is shot dead in the street outside his office. This latter moment is extremely well portrayed and so intense that it left me close to tears - an excellent piece of film-making rivalled by only a few of the great directors.
The film largely revolves around the character of Franco Nero and his increasingly frantic outbursts as he is foiled by criminal masterminds time and time again. Nero is unsurprisingly excellent in the role, proving once again his worth and the reason for his international success - he really feels for his character and puts himself into the scarf, overcoat, and shiny shoes, becoming the policeman and living his life. Nero's acting becomes better and better throughout, coping especially with all of the heavy emoting required by the second half of the movie; a wonderful performance from a wonderful man.
Imported star James Whitmore, meanwhile, is similarly excellent as weary fellow cop Scavino, whose top-secret file of the crime bosses leads to his shocking demise; Whitmore actually out-acts Nero at key moments, especially with his outburst in the secluded wood which is acting at its best. Full marks to Whitmore for creating such a well-rounded and likable character. The rest of the supporting cast also put in very good performances, with some really nasty thugs, really slimy kingpins and a fine humane turn from Fernando Rey. These factors and more combine to make THE MARSEILLES CONNECTION a winning example of the Italian polizia genre.
Italian Crime Classic with Franco NERO and Fernando REY
ZeddaZogenau20 January 2024
The police accuse, the judiciary acquits: EuroCrime classic with Franco Nero
Breathlessly exciting and with a pinch of social criticism, cult director Enzo G. Castellari creates a unique mix of action and paranoia thriller. This is top-class European genre cinema! An outstanding cast and the driving music of the De Angelis brothers also ensure quality.
In Genoa, the Lebanese mafia's drug dealings are increasing. Commissario Belli (GOLDEN GLOBE candidate Franco Nero) is highly motivated, but is increasingly losing patience. His superior (great: GOLDEN GLOBE winner James Whitmore) already has a whole dossier on the gangsters, but doesn't believe he has enough evidence to convince the judiciary. The inspector is hoping for help from Don Cafiero (Fernando Rey), who has become calmer but is playing his own game. The involvement of the Italian upper class (Silvano Tranquili and Duilio Del Prete as "honorable" pillars of society) becomes clear, but cannot be proven in the long term. In addition, there are Belli's private problems with his girlfriend (Delia Boccardo) and daughter (Stefania Girolami Goodwin). So there's enough cause for trouble! You could easily do without a killer like Rico (Daniel Martin)...
This film is really good! Castellari manages to combine the two most important strands of 70s thriller cinema and thus give the poliziottesco an additional boost. The action sequences in Genoa and later Marseille are great. The acting performances are outstanding. The technical quality is impressive.
Absolute recommendation!
Breathlessly exciting and with a pinch of social criticism, cult director Enzo G. Castellari creates a unique mix of action and paranoia thriller. This is top-class European genre cinema! An outstanding cast and the driving music of the De Angelis brothers also ensure quality.
In Genoa, the Lebanese mafia's drug dealings are increasing. Commissario Belli (GOLDEN GLOBE candidate Franco Nero) is highly motivated, but is increasingly losing patience. His superior (great: GOLDEN GLOBE winner James Whitmore) already has a whole dossier on the gangsters, but doesn't believe he has enough evidence to convince the judiciary. The inspector is hoping for help from Don Cafiero (Fernando Rey), who has become calmer but is playing his own game. The involvement of the Italian upper class (Silvano Tranquili and Duilio Del Prete as "honorable" pillars of society) becomes clear, but cannot be proven in the long term. In addition, there are Belli's private problems with his girlfriend (Delia Boccardo) and daughter (Stefania Girolami Goodwin). So there's enough cause for trouble! You could easily do without a killer like Rico (Daniel Martin)...
This film is really good! Castellari manages to combine the two most important strands of 70s thriller cinema and thus give the poliziottesco an additional boost. The action sequences in Genoa and later Marseille are great. The acting performances are outstanding. The technical quality is impressive.
Absolute recommendation!
Nero vs. the drug traffickers
jj80528213 August 2022
This is a great Franco Nero flick that is almost as good as my favorite Nero and Castellari combo "Street Law." The plot consists of Nero chasing the mob and being caught in-between a mob war as competing factions struggle for power. There are cool scenes like a motorcycle attack, people getting smacked and run over by cars, and gunfights with Peckinpah-esque squib action and slow motion bodies falling. A tad confusing with all the players and Italian names, but all the while very exciting. Nero is great as a steaming angry cop and so is Rey as a sick and possibly dying mob boss. Good characters, intriguing plot, and lots of action make a great film.
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