Fear in the City (1976)

It's an amazing and heartbreaking story.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

A clunky actioner with a handful of cool moments.

Euro-Crime can be an acquired taste at the best of times - bad dubbing; senseless killings; one-dimensional plot lines, just some of the gripes levelled against this genre of film. However, if you are looking to watch a film that is rather sparing on subtlety, pathos and seriously lacks any kind of pacing(choppy editing issues), but excels with well-choreographed action sequences; ultra- violence; over-the- top silliness and an easy-to-follow storyline, then this is another Polizio film worth casting a keen eye over.Maurizio Merli plays a cop forced into retirement by his superiors due to a fondness in the past, of taking matters into his own hands and meting out his own brand of justice to any wrongdoers who have the temerity to commit a crime in his neck of the woods. This exile doesn't last too long however, as he suddenly finds himself recalled to duty by the very same superiors, who believe utilising his brutish methods is just about the only option they have of putting a stop to a gang of nefarious criminals who have just escaped from the clink, and mean BUSINESS! Cue exploding cars; a spectacular motorcycle chase; a one-sided dust-up where Merli teaches four(middle-aged)hooligans some manners on a public bus and plenty of gratuitous shoot- outs(endless bullets entering endless baddies chests).All in all, an enjoyable 89mins, that's not going to tax the mind and will entertain you from start to finish. Oh, and watch for an unusual turn out for James Mason, playing an Italian Police Commissioner with a clipped Yorkshire accent. Fascinating!

Italian police thrillers were partly inspired by 70's American films like "Dirty Harry", "The French Connection", and "Serpico", so they have a kind of indirect film noir sensibility to them, but one updated to the gritty urban decay of the 1970's. They were also, of course, inspired by the Spaghetti Westerns, a popular Italian genre which they would essentially replace. The Spaghetti Westerns had taken the white-hatted American John Wayne type heroes and substituted much more morally ambiguous anti-heroes, often ruthless and violence prone and pursuing only their own self-interest. These kind of ambiguous anti-heroes carried on into the police thrillers, and that mixed with noir elements and the social turbulence of 70's led to a cynical, downbeat, and extremely morally ambiguous genre that was nevertheless entertaining as hell. The problem is though in the hands of hacks these films could very easily turn into the most trite right-wing fantasies imaginable.Actor Maurizio Merlino was one of those hacks. Basically, he was Franco Nero with a fraction of the talent. Still, he was OK in some of the films he made with Umberto Lenzi and other relatively talented directors. Unfortunately, director Guiseppe Rossi was an even bigger hack, responsible for such nonsense as the dim-witted giallo "The Perfect Crime". As a result, this movie has no intelligence, no depth, and no irony (not even the over-the-top fascist excesses of something like Ruggiero Deodata's "Live Like a Cop, Die Like a Man"). It's just the typical ho-hum story of a vigilante cop who defies his superiors and refuses to go "by the book" as he fights crime--in this case a dozen ruthless gangsters who have broken out of prison and are out to settle the score with everyone that put them there. This is the kind of thing Hollywood crapped out about a thousand times in the 80's, usually with Sylvester Stallone or some other meat-head in the lead role. There's not even a memorable villain like Thomas Milan or Henry Silva on hand.On the plus side, the music is pretty good and visual style is serviceable. Silvia Dionisio turns up as Merlino's love interest and she has her usual highly gratuitous (but highly enjoyable) nude scenes. James Mason is also in this, and even though he is obviously slumming and his role is pretty perfunctory, an actor of his caliber can't help but add a little gravitas to the proceedings. Still,this is generally a weak entry into the Italian cop genre.

I'm a big fan of the Italian Polizi flicks, and for me; having made some of the most entertaining films in the genre, Maurizio Merli is much more than just a Franco Nero clone...but despite the title similarity to the great French-Italian co-production Fear Over the City, Fear in the City is unfortunately a lesser example of the genre. The entire genre owes itself to Don Siegel's masterpiece Dirty Harry; although some of the films in it have taken some creative licence and made something a bit different out of it; that is not the case with this film. The film focuses on Murri; the token maverick cop. He is called in (reluctantly) after a bunch of criminals pull off a successful prison break and spend the night picking off various informers and people they don't like. Murri investigates; hooking up with one of the criminal's nieces along the way. He uses his own methods; which mostly involve breaking all the rules, and thus comes under a lot of scrutiny from his superiors who don't take too kindly to the cop's way of working.The main problem with this film is undoubtedly the pacing; as we skip from one action scene to the next without much substance in between. Of course, it's the action scenes that make this genre what it is; but the more successful films in it generally have something else to like, and this one doesn't. Maurizio Merli makes a likable lead as ever and it's not hard to see why he so often gets cast in these films as the roles suit him like a glove; but even he doesn't have enough to make Fear in the City a success. Anyone who has seen more than a handful of these films will have seen everything in this one before and not even the action scenes are anything to write home about; although there is an amusing motorcycle chase midway through the film which is well done. This is one the lesser known Polizi flicks outside of Italy and I'm not really surprised about that because there are so many better ones. Overall, I could perhaps recommend this film to hardcore fans of this sort of stuff; but everyone else would do well to not bother with this film.

Maurizio Merli turns in his standard hard-nosed/violent cop routine in this one. The score is solid, story is easy to follow and there's a fantastic motorcycle chase toward the end. It's not quite as good as Convoy Busters or High Crimes but you're better off watching this than something like Cannibal Holocaust.Merli is no Franco Nero but his not-so-subtle acting is more than made up with his charm and delightful mustache. Not sure if this is part of the 'A Mano Armata' series but it certainly could be.If you're a fan of the Polizio genre this one should sate your appetite.