Videophiled: ‘Killer Cop’

KillerCop
Raro Video

Given the title of Killer Cop (Raro / Kino Lorber, Blu-ray, DVD) a 1975 poliziotteschi from Italy, you might expect a rogue cop thriller, and ambitious young Commissario Matteo Rolandi (Claudio Cassinelli), a rising officer on a major drug case, certainly has good reason to go rogue. His case gets caught up in a major terrorist bombing and his best friend (Franco Fabrizi), a workaday veteran with a fidgety nature and a streak of bad luck, is murdered for stumbling across the prime suspect. He’s frustrated that he’s been bounced from the case by the Prosecutor General, a serious, stone-faced legend of dogged duty who has the unlikely nickname “Minty” (because he keeps popping breath mints while working a case) and is played by American star Arthur Kennedy (dubbed in Italian of course), so when his drug investigation winds back into the bombing he conducts his own investigation. It turns out the Prosecutor has his reasons for keeping the case close to the vest: the police force, the justice department, the entire political system in Milan is riddled with corruption and he doesn’t know who he can trust.

The northern capital of Milan, the symbol of modernity and progress in the Italian cinema of the 50s and 60s, is the epitome of official corruption and the urban mob in the crime cinema of the 70s. The violence here, however, is no mob war or message from the criminal underworld. It’s not even a terrorist attack, at least not as defined by the traditional “war on terror” yardstick. It’s… well, I’m not really sure, but as the masterminds explain it, “It was only supposed to be a demonstration.” The best I can figure is that it’s a conspiracy rooted in a cabal of industrialists, government officials, and mobsters and it is designed to stir things up. Which pretty much vindicates the fears of both Rolandi and Minty, who keep tripping over each other with a frequency that makes them both suspicious.

Raro has been championing the poliziotteschi—brutal crime thriller and mob dramas from Italy in the 1970s—since its revelatory release of Fernando di Leo’s filmography. Killer Cop is a minor but interesting addition to the library, a low-key film that (unusual for the genre) focuses on honest cops trying to do their job in a culture of corruption and political intimidation. Italian audiences of the day would have recognized the event as a reference to a real-life bombing at Piazza Fontana, which was unsolved, and director Luciano Ercoli suggests a conspiracy that could have come out of the American cinema of the day, like The Parallax View. It’s short on exposition, which is as interesting as it is frustrating—the whole conspiracy remains shadowy and the complicity of the police and justice officials is unclear—but also gives the film an atmosphere of distrust of all official representatives. The bomber himself (Bruno Zanin) is a kind of sad-sack patsy, not even a true believer but a foot soldier getting his orders from phone calls and abandoned by his bosses when the case spins out of their control.

As far as I know, this is Ercoli’s only poliziotteschi but he brings an interesting attitude to the genre.

Blu-ray and DVD, with both Italian and English dub soundtracks (the Italian is preferable, as the English dubbing is sloppy and lazily performed) and optional English subtitles, plus a 20-minute interview with production manager Alessandro Calosci.

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Videophiled: ‘Adua and Her Friends’

Adua
Raro

Adua and Her Friends (Raro / Kino Lorber, Blu-ray) are prostitutes from a Rome brothel attempting to take charge of their own lives after their place is shut down in the aftermath of Italy’s Merlin Law, which ended legalized prostitution in 1958 (the film was released in 1960). Adua (played by Simone Signoret), a veteran of the life, has a plan to open a restaurant as a front for their own little brothel in the rooms upstairs and her friends—cynical and hot-headed Marilina (Emmanuelle Riva), naïve and trusting Lolita (Sandra Milo), and practical Milly (Gina Rovere)—pitch in for the purchase and start-up and fake their way through running a real business. Adua may be a dreamer but she has a lot invested in this project. She’s the oldest of the four and, as anyone familiar with the films of Mizoguchi will attest, life on the streets isn’t forgiving of age. But what really charges up the film is the feeling of accomplishment and ownership as they work their way through each problem and, almost without noticing, create a successful business out of the restaurant.

For all the stumbles along the way, director Antonio Pietrangeli and his screenwriting partners (which includes future director Ettore Scola and longtime Fellini collaborator Tullio Pinelli) don’t play the disasters for laughs but rather a mix of warm character piece and spiky social commentary. It’s not simply that their pasts follow them around but that the Merlin Law has actually made things worse for women, whether they remain in the life (without any legal protections) or attempt to transition into another career. Palms need to be greased and officials cut in on the business; they haven’t even started up and they’re already paying off a pimp. And no, it’s not Marcello Mastroianni’s Piero, a charming hustler who hawks cars and woos Adua, who enjoys engaging in a romance that she gets to define for a change. He’s a pleasant distraction and something of an ally, but he’s better at looking out for himself.

Simone Signoret and Sandra Milo
Simone Signoret and Sandra Milo

 

Pietrangeli has great empathy for women (based on the evidence of this film and his 1964 La Visita) and his story frames the sexual double standards and cultural chauvinism of their lives. Those are the kinds of forces that good intentions and elbow grease can’t always overcome. But between the arguments and setbacks, Pietrangeli offers a portrait of life lived in hard times and buoyed by friendship and hope for a better life. When Marilina’s young son moves in (the girls didn’t even know she was a mother), they coalesce in a kind of family. The scene of the boy’s baptism, with the women lined up like adoring aunts, is a lovely and touching moment. There are no happy ending fantasies here but their moments of triumph, solidarity, and defiance are oases in a life that otherwise has it out for their dreams of self-definition.

Raro first released the film on DVD in 2011. This marks the Blu-ray debut and it looks very good, clean and sharp with lots of detail, and sounds great. Its score is informed by fifties cool jazz (and I’m a sucker for any soundtrack featuring the vibes) and dotted with pop songs (including a great use of Santo and Johnny’s instrumental “Sleepwalk”). It features an introduction by Italian film historian Maurizio Poro, the short film Girandola 1910, a segment from the 1954 anthology comedy Amori de mezzo secolo directed by Pietrangeli, and a booklet with essays, excerpts essays and reviews, and filmographies.

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