Mariangela Melato and Enrico Maria Salerno in Execution Squad (1972)

Marcello Mastroianni, Bruno Berellini, Wanda Capodaglio, Irene Cefaro, Adolfo Consolini, Anna Maria Ferrero, Cosetta Greco, Antonella Lualdi, Garibaldo Lucii, Giuliano Montaldo, Andrea Petricca, Gabriele Tinti, and Eva Vanicek in Chronicle of Poor Lovers (1954)

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Gian Maria Volontè in The Violent Four (1968)

Gian Maria Volontè, Don Backy, Ray Lovelock, and Ezio Sancrotti in The Violent Four (1968)

Gian Maria Volontè

Don Backy

Ray Lovelock

Carlo Lizzani

Dino Maiuri

Massimo De Rita

A detective is assigned to head a manhunt for four violent bank robbers.

Banditi a Milano

The Violent Four

It&apos;s like an LP, this feature. On one side we see an almost documentary style of drama depicting a Milan in the throes of a (real) crime wave. On the other, we are introduced to some pretty successful perpetrators of those crimes who are robbing banks of millions of lire with impunity. The opening sequences in the company of their commissioner (Thomas Milian) are a little dry, but after about twenty minutes or so when we are introduced to the suave bandit-in-chief &quot;Piero&quot; (Gian Maria Volonté) who&apos;s gang adopt the simplest of facial disguises, avoid bloodshed when possible, and raid merrily - usually after carefully casing the banks in advance and ensuring there is some suitable diversion at the other end of town to distract the carabinieri. Of course, the easier it seems, the more ambitious they get and after recruiting the enthusiastic young &quot;Tuccio&quot; (Ray Lovelock) as their driver they embark on their biggest job yet. When that doesn&apos;t quite go to plan, the authorities are soon on their tails and things in this city turn distinctly perilous for policeman, robber and pedestrian alike as we embark on quite an epic car chase. Along the way we are treated to a lively score, some contemporary Italian artistry and a degree of confidence from a Volonté who combines menace, dark comedy and suaveness really quite effectively. After the freneticism of the second half of the film I felt that the denouement, though a little claustrophobic at times, did disappoint. It didn&apos;t dare have the courage of it&apos;s convictions which I thought a bit of a shame as the Fiats started to pile up all over the place. Once it gets into it&apos;s stride, this film doesn&apos;t hang about and it presents us with a daring brutality, Italian style, that is definitely different from your average plan, heist, chase, caper.

It's like an LP, this feature. On one side we see an almost documentary style of drama depicting a Milan in the throes of a (real) crime wave. On the other, we are introduced to some pretty successful perpetrators of those crimes who are robbing banks of millions of lire with impunity. The opening sequences in the company of their commissioner (Thomas Milian) are a little dry, but after about twenty minutes or so when we are introduced to the suave bandit-in-chief "Piero" (Gian Maria Volonté) who's gang adopt the simplest of facial disguises, avoid bloodshed when possible, and raid merrily - usually after carefully casing the banks in advance and ensuring there is some suitable diversion at the other end of town to distract the carabinieri. Of course, the easier it seems, the more ambitious they get and after recruiting the enthusiastic young "Tuccio" (Ray Lovelock) as their driver they embark on their biggest job yet. When that doesn't quite go to plan, the authorities are soon on their tails and things in this city turn distinctly perilous for policeman, robber and pedestrian alike as we embark on quite an epic car chase. Along the way we are treated to a lively score, some contemporary Italian artistry and a degree of confidence from a Volonté who combines menace, dark comedy and suaveness really quite effectively. After the freneticism of the second half of the film I felt that the denouement, though a little claustrophobic at times, did disappoint. It didn't dare have the courage of it's convictions which I thought a bit of a shame as the Fiats started to pile up all over the place. Once it gets into it's stride, this film doesn't hang about and it presents us with a daring brutality, Italian style, that is definitely different from your average plan, heist, chase, caper.

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