Kriminal: 2-Disc Edition – Cult Epics (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy/Spain/Turkey, 1966
Director: Umberto Lenzi
Writer: Umberto Lenzi
Cast: Glenn Saxson, Helga Liné, Andrea Bosic, Ivano Staccioli, Esmeralda Ruspoli, Maria Luisa Rispoli, Mary Arden

Release Date: September 22nd, 2026
Approximate Running Time: 99 Minutes 26 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English
Region Coding: Region Free
Retail Price: $49.95

"Kriminal is the king of thieves, the mastermind behind some of the greatest heists ever committed. Always one step ahead of the law, he works alone. He is cunning, and if you get in his way, he can be deadly." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about the transfer, "4K Transfer (from the original negative) & Restoration + HDR."

Kriminal comes on a 66 GB dual layer 4K UHD

Disc Size: 58.2 GB

Feature: 56.7 GB

This transfer looks excellent; flesh tones look healthy; colors are vibrant; image clarity, black levels, and compression are solid, and the image retains an organic appearance.

Kriminal comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 27.6 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 5/5

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. Both tracks sound clean, clear, and balanced, and ambient sounds are well represented. That said, both tracks are comparable. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track. It should be noted that when watching the English-language track, some dialogue is in Italian and removable English subtitles are provided for these moments.

Extras:

Extras on the 4K UHD disc include a theatrical trailer (3 minutes 38 seconds, LPCM mono Italian with removable English subtitles) and an audio commentary with Eugenio Ercolani and Troy Howarth.

Extras on the Blu-ray disc include a promotional image gallery (26 images—posters/lobby cards), a theatrical trailer (3 minutes 38 seconds, LPCM mono Italian with removable English subtitles), original Italian opening and closing credits (2 minutes 55 seconds, LPCM mono Italian, no subtitles), an isolated score (29 tracks—50 minutes 58 seconds, LPCM mono), an interview with filmmaker Pierpaolo De Sanctis titled The Sound of Krime (24 minutes 48 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Glenn Saxson titled Camera Nostalgia (37 minutes 34 seconds, Dolby Digital stereo Dutch with non-removable English subtitles), a documentary titled Armed to the Teeth: The Cinema of Umberto Lenzi (88 minutes 40 seconds, Dolby Digital stereo English and Italian with non-removable English subtitles), and an audio commentary with Eugenio Ercolani and Troy Howarth.

Other extras on the Blu-ray disc include trailers for The Key, P.O. Box Tinto Brass, Don’t Play With Fire, and The Girl Who Leapt Through Time.

Other extras include reversible cover art with the original Italian poster art and a slipcase (limited to the first pressing).

Summary:

Umberto Lenzi directed Kriminal. He's most known for his contributions to the Poliziotteschi and Giallo genres. His notable films are Orgasmo, So Sweet So Perverse, A Quiet Place to Kill, Seven Blood-Stained Orchids, Almost Human, Spasmo, The Tough Ones, Violent Naples, and Cannibal Ferox.

A mastermind thief known as Kriminal narrowly escapes execution. He always manages to stay one step ahead of the law with each new crime he commits. Will Kriminal be able to pull off his biggest score yet or will a double cross lead to his demise?

The origins of the Kriminal character can be traced back to the 1964 fumetti (comic book) created by Roberto Raviola and Luciano Secchi under the pseudonyms Magnus and Max Bunker. Kriminal is a mastermind thief who effortlessly seduces women and when in danger, he is not above killing anyone who gets in his way. Kriminal (1966) is the first of two films. It was followed two years later by Il marchio di Kriminal (1968).

Despite not being held in as high regard as Dario Argento, Lucio Fulci, and Mario Bava, something that can be said about Umberto Lenzi’s films from the 1960s and 1970s is that there’s a consistent quality to them. Where most of Umberto Lenzi’s contemporaries found success in a specific genre, he was a filmmaker who worked and excelled in a multitude of genres. That said, because of his ability to work quickly and cheaply, he's labeled a workman-like filmmaker, while there is a strong case to be made that he's an auteur.

The narrative opens with a dramatic scene where the protagonist, Kriminal, is about to be executed and when the nooses around his neck break as the power goes out, he manages to escape. The opening setup does a phenomenal job laying out who Kirminal is and what he’s capable of. From there, a perfectly paced cat-and-mouse game between Criminal and the police, led by Inspector Milton, unfolds.

The narrative has several well-executed twists; the most notable one revolves around twin sisters being used as diamond couriers to help confuse any prospective thief about knowing which one had the diamonds. No one can be trusted, as greed is the main thing driving each character, and they are all willing to double-cross each other to gain the upper hand. It is also cool how Kriminal is able to adapt to his surroundings and escape anywhere even when he is trapped.

Glenn Saxson (Django Shoots First) is cast in the role of Kriminal. He has the look and the physical prowess as he convincingly pulls off portraying a mastermind thief. His performances shine brightest during more action-oriented scenes. Other performances of note are Helga Liné’s (Horror Rises from the Tomb) portrayal of twin sisters and Esmeralda Ruspoli's (L'Avventura) portrayal of Lady Gold, a nefarious character who tries to outsmart Kriminal. A cast member of note is Mary Arden (Blood and Black Lace), who appears briefly, but her character plays a significant role in the finale.

Kriminal is a stylish film that immediately grabs you with its comic book opening credits. Kriminal is a beautifully photographed film with eye-popping colors and its use of a 2.35:1 frame delivers some striking imagery. Its jazz-infused score was composed by Romano Mussolini, son of former Italian dictator Benito Mussolini under the pseudonym Raymond Full.

Kriminal was one of the first film adaptations of a Fumetti neri; it was made two years before Danger: Diabolik, what is widely regarded as the best Fumetti neri film. While there would be a sequel, Il marchio di Kriminal, both of these films take on a much darker tone than Danger: Diabolik. Ultimately, Kriminal is a highly entertaining film that never strays too far away from its fumetti origins.

Kriminal gets an excellent release from Cult Epics that comes with a solid audio/video presentation and informative extras. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

The Saragossa Manuscript: Limited Edition – Radiance Films (UHD/Blu-ray Combo)

Theatrical Release Date: Poland, 1965
Director: Wojciech Has
Writers: Tadeusz Kwiatkowski, Jan Potocki
Cast: Zbigniew Cybulski, Iga Cembrzynska, Elzbieta Czyzewska, Gustaw Holoubek, Stanislaw Igar, Joanna Jedryka, Janusz Klosinski, Bogumil Kobiela, Barbara Krafftówna

Release Date: September 14th, 2026
Approximate Running Time: 3 Hours 3 Minutes 41 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: 15 (UK)
Sound: DTS-HD Mono Polish
Subtitles: English
Region Coding: Region Free (4K UHD), Region Free (Blu-ray)
Retail Price: £24.99 (UK)

"At the height of the Napoleonic wars, a Polish soldier seeks refuge in a deserted house in the Spanish town of Saragossa, and discovers a mysterious manuscript written in a language he doesn’t speak. When enemy Spanish officers arrive to arrest him, one of the soldiers realises that the book appears to tell the story of his grandfather, Alfonse Van Worden (Zbigniew Cybulski, Ashes and Diamonds), and his surreal, mystical adventures in the region several decades before. He starts to translate the text for the Polish soldier, and so begins a time-shifting, genre-hopping, ouroboros-like epic narrative, one that blends the gothic, quixotic and erotic, and in the process interrogates the very nature of storytelling itself." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about this release's transfer, "The Saragossa Manuscript was restored in 4K from the original camera negative by Fixafilm. This restoration was provided to Radiance Films as a 4k Ultra High-Definition digital file. HDR grading was performed by Stephen C. Horne for Radiance Films.”

The Saragossa Manuscript comes on a 100 GB triple layer 4K UHD.

Disc Size: 90.9 GB

Feature: 90.3 GB

The film can be watched as a whole or as part one or part two. The source looks phenomenal; it is easily the best that The Hourglass Sanatorium has ever looked on home media. Flesh tones look healthy, colors are perfectly saturated, contrast, black levels, image clarity, and compression are solid, and the image always retains an organic appearance.

The Saragossa Manuscript comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.8 GB

Feature: 35.7 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 5/5

This release comes with one audio option, a DTS-HD mono mix in Polish with removable English subtitles. The track sounds excellent; dialogue always comes through clearly, everything sounds balanced, and ambient sounds are well-represented.

Extras:

There are no extras on the 4K UHD disc.

Extras on the Blu-ray disc include a video essay by Michael Brooke titled The Saragossa Labyrinth, where he discusses the cinema of Wojciech Has and The Saragossa Manuscript (69 minutes 3 seconds, Dolby Digital stereo English with removable English subtitles for Polish film clips) and an archival making-of documentary made for Polish television on The Saragossa Manuscript, featuring Wojciech Has, cinematographer Mieczyslaw Jahoda, production designer Jerzy Skarżyński, and assistant director Barbara Sass-Zdort (29 minutes 15 seconds, Dolby Digital stereo Polish with removable English subtitles).

Other extras include reversible cover art, a removable OBI strip leaving packaging free of certificates and markings; and a 32-page booklet (limited to 5,000 copies) with cast & crew information, an essay titled Unforeseeable Complications: The Multiple Narratives of The Saragossa Manuscript written by David Hering, an archival writing titled The Saragossa Manuscript written by Annette Insdorf, and information about the transfer.

Summary:

The Saragossa Manuscript was a transitional film for Wojciech Has, who went from reality-based melodrama into full-blown fantasy films. Like most of Wojciech Has’ films, The Saragossa Manuscript was adapted from a literary source, the novel The Manuscript Found in Saragossa by Jan Potocki.

The Saragossa Manuscript does not feature a conventional narrative. The opening moments revolve around a soldier during the Napoleonic Wars who finds a book in an abandoned inn, and from there he starts to read it. Once he starts reading, the narrative is essentially a series of flashbacks that are best described as flashbacks that fold into other flashbacks.

The Saragossa Manuscript overflows with striking imagery that also fills itself with symbolism. After the opening credits fade away and the narrative begins properly, a soldier is seen walking past a crucified Jesus on the cross as he walks through destroyed buildings while Ludwig van Beethoven’s Ode to Joy plays in the background. Before anyone is introduced or any indication of where the narrative is about to go, opening a film this way is such a powerful evocative moment that perfectly sets the stage. That said, surprisingly, music is only used sparingly throughout. Other memorable moments are scenes where characters walk up, lying next to skulls under gallows. When it comes to the visual use of the 2.35:1 scope frame, The Saragossa Manuscript fills every inch of the frame with vivid imagery.

All around, the performances are excellent, especially Zbigniew Cybulski’s (Ashes and Diamonds) portrayal of the protagonist, Alfonse Van Worden. He delivers a remarkable performance that elevates everyone around him. That said, what makes his performance so compelling is how it goes against the type of characters that he so often portrays.

From a production standpoint, there is no area where The Saragossa Manuscript does not excel; the visuals, the performances, and its production and costume design are all outstanding. Although the narrative jumps from one story to another, there are never any issues with building and sustaining momentum. Another reason why the narrative works so well is its execution; there is nothing haphazard about the way it unfolds. Ultimately, The Saragossa Manuscript is a one-of-a-kind cinematic experience that does not fit into one film genre nicely.

The Saragossa Manuscript gets a definitive release from Radiance Films. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

World Noir Volume 5: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Dates: Italy, 1946 (The Bandit), Italy, 1950 (Against the Law), Italy, 1951 (Four Ways Out)
Directors: Alberto Lattuada (The Bandit), Flavio Calzavara (Against the Law), Pietro Germi (Four Ways Out)
Cast: Anna Magnani, Amedeo Nazzari, Carla Del Poggio, Carlo Campanini, Eliana Banducci, Mino Doro, Folco Lulli, Mario Perrone (The Bandit), Marcello Mastroianni, Fulvia Mammi, Renato Malavasi, Tino Buazzelli, Manlio Busoni, Miranda Campa, Angelo Canova, Paolo Panelli, Mario Terribile (Against the Law), Gina Lollobrigida, Renato Baldini, Cosetta Greco, Paul Muller, Enzo Maggio Jr., Fausto Tozzi, Tamara Lees, Emma Baron, Ferdinando Lattanzi (Four Ways Out)

Release Date: September 7th, 2026
Approximate Running Times: 83 Minutes 46 Seconds (The Bandit), 96 Minutes 44 Seconds (Against the Law), 79 Minutes 56 Seconds (Four Ways Out - Italian Version), 74 Minutes 50 Seconds (Four Ways Out - English Version)
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 12 (UK)
Sound: LPCM Mono Italian (All Films), LPCM Mono English (Four Ways Out - English Version)
Subtitles: English (All Films), English SDH (Four Ways Out - English Version)
Region Coding: Region B
Retail Price: £37.49 (UK)

The Bandit: "Returning from war, Ernesto (Amedeo Nazzari, Nights of Cabiria) comes home without a family to welcome him. A chance encounter with a gangster's moll, Lydia (Anna Magnani, Rome, Open City) catapults him to a life of crime." - synopsis provided by the distributor

Against the Law: "A middle class man laundering money for the mob to make ends meet witnesses a murder during a currency exchange. Fingered as the murderer by police, he and his girlfriend attempt to clear his name." - synopsis provided by the distributor

Four Ways Out: "A gang of four ordinary men steal two cases stuffed with money from a football ground. They split up to evade capture but misplaced allegiances and nerves threaten their freedom." - synopsis provided by the distributor

Video: 4.5/5 (The Bandit, Four Ways Out - Both Versions), 4/5 (Against the Law)

Here’s the information provided about the transfers, “The Bandit was restored in 4K by the Fondazione Cineteca di Bologna from the original nitrate camera and sound negatives provided by Cristaldi Films. The restoration was carried out at the L’Immagine Ritrovata laboratory. The restoration was supported by the Ministry of Cultural Heritage and Activities and Tourism.

The 4K restoration of Four Ways Out became necessary due to the extensive damage suffered by the original camera negative over the years. The film’s opening scene, a fade-in, had been destroyed and replaced with black leader; numerous frames were missing, cue marks at reel changes had been damaged and, in reels 4 and 7, deteriorated sections of the negative had been replaced with elements from a dupe negative printed from a positive print. The restoration was made possible thanks to the discovery of its safety dupe negative of the English version, a nitrate print, and a dupe negative struck in the 1990s. The comparison of these materials made it possible to identify the best surviving elements and, through 4K scanning, to reconstruct the negative and carry out an extensive restoration. All missing frames were reconstructed and the inserts in reels 4 and 7 were replaced with sections sourced from the English dupe negative and the nitrate print; the latter also made possible the reconstruction of an entire sequence from reel 4. The film’s opening scene was reconstructed using the dupe negative printed in the 1990s. 

The restoration of Against the Law was made from the 35mm original image and sound negatives stored at Cineteca Italiana (Milian). The restoration was started in 2024 for the celebration of the centenary of Marcello Mastroianni’s birth.

For Four Ways Out and Against the Law, the film preparation and conforming was carried out by Picture & Sounds (Rome), with 4K scanning, digital restoration, and grading completed at Video Master Digital (Rome). Digital sound restoration and mastering was carried out by Fabio Venturi at Touch Entertainment.

All three films were supplied to Radiance Films as high-definition video files.”

The Bandit comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.9 GB

Feature: 24.3 GB

The source looks excellent; flesh tones look healthy, image clarity, contrast, black levels, and compression are solid, and the image retains an organic appearance.

Against the Law comes on a 50 GB dual layer Blu-ray.

Disc Size: 32.9 GB

Feature: 26.2 GB

Although not as strong of a presentation as the two other films in this collection, there are times when this transfer looks excellent. Flesh tones look healthy, image clarity, contrast, and black levels are strong, compression is solid, and the image retains an organic appearance.

Four Ways Out comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.2 GB

Feature: 20.6 GB (Italian Version), 19.3 GB (English Version)

When one considers the shape of the original negative and the amount of work done to restore the film, the end result looks remarkable. Flesh tones look healthy, image clarity, contrast, black levels, and compression are solid, and the image retains an organic appearance.

Audio: 4/5 (LPCM Mono Italian - The Bandit), 3.75/5 (LPCM Mono Italian - Against the Law, LPCM Mono Italian - Four Ways Out), 3.5/5 (LPCM Mono English - Four Ways Out)

Each film comes with an LPCM mono mix in Italian and removable English subtitles. All tracks sound clear and balanced, and ambient sounds are well-represented. The Bandit’s audio track sounds noticeably more robust than the other two films, which have some minor background hiss. Four Ways Out includes an English-language version featuring an LPCM mono mix with removable English subtitles. While the track sounds clear and balanced, it does have some minor imperfections.

Extras:

Extras for The Bandit include an interview with film critic Fabio Melelli, who discusses Alberto Lattuada’s films (18 minutes 27 seconds, LPCM stereo Italian with removable English subtitles), an interview with Evelina Nazzari about her father, actor Amedeo Nazzari (16 minutes 24 seconds, LPCM stereo Italian with removable English subtitles), an interview with Fabio Melelli and Evelina Nazzari, who discuss The Bandit (24 minutes 23 seconds, LPCM stereo Italian with removable English subtitles), an interview with film critic Christina Newland, who discusses actress Anna Magnani (12 minutes 28 seconds, LPCM stereo English, no subtitles), and reversible cover art.

Extras for Against the Law include an interview with film critic Manuela Lazic, who discusses actor Marcello Mastroianni (20 minutes 49 seconds, LPCM stereo English, no subtitles), an interview with Italian film expert Stephen Gundle, who discusses director Flavio Calzavara (19 minutes 42 seconds, LPCM stereo English, no subtitles), and reversible cover art.

Extras for Four Ways Out include an Italian-language theatrical trailer (3 minutes 20 seconds, Dolby Digital mono Italian with removable English subtitles), an English-language theatrical trailer (2 minutes 40 seconds, Dolby Digital mono English, no subtitles), an interview with Pietro Germi expert Mario Sesti, who provides a critical assessment of Four Ways Out (21 minutes 23 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with noir expert Imogen Sarah Smith, who discusses Four Ways Out and Pietro Germi (24 minutes 41 seconds, Dolby Digital stereo English, no subtitles), an alternate English language version of Four Ways Out (74 minutes 50 seconds, 1.37:1 aspect ratio, LPCM mono English with removable English SDH), and reversible cover art.

Other extras include a removable OBI strip leaving packaging free of certificates and markings and an 80-page perfect bound booklet with cast & crew information for each film, an archival writing titled Neorealismo Nero written by Mary P. Wood, an essay titled In the Wake of Catastrophe: Alberto Lattuada’s The Bandit written by Beatrice Loayza, an essay titled Germi’s Naked (Eternal) City: Four Ways Out written by Pasquale Iannone, an essay titled Romans Not on Holiday: Against the Law written by Farran Smith Nehme, an essay titled The Glass Eye: Leo Longanesi and the Seeds of Neo-Realism written by Roberto Curti, Four Ways Out original promotional material and information about the transfers.

Summary:

The Bandit: Alberto Lattuada directed The Bandit. He’s known for Without Pity, Variety Lights, The Overcoat, The Devil Is a Woman, Mafioso, and Come Have Coffee with Us.

After being held in a prisoner of war camp, a man named Ernesto returns to Italy to discover that his mother has died and his sister is missing. From there, a chance encounter reunites Ernesto with his sister, who’s working as a prostitute. When Ernesto tries to take her away from that world, her pimp murders her; enraged, Ernesto kills her pimp, making him a fugitive.

The Bandit is a film of two halves; the first half is a melodrama about a man named Ernesto, who struggles to reintegrate into society while trying to locate his family after the war. The later half shifts into a crime story when Ernesto becomes a wanted man after killing a man. Although Ernesto becomes more jaded, his instinct to survive remains strong throughout.

The opening setup does a phenomenal job establishing Ernesto and key characters who play a significant role in the story that unfolds. The well-executed narrative is very effective at creating tense moments that build upon each other. While it's evident that Ernesto's destructive path cannot lead to anything positive, the impact of the gut-punch finale remains unchanged.

All around, the cast are excellent in the roles, especially Amedeo Nazzari’s (Nights of Cabiria) portrayal of Ernesto. Despite his characters' unflattering actions, he still manages to evoke sympathy. That said, the most memorable performance is Anna Magnani (The Rose Tattoo) in the role of Lidia, a gangster's girlfriend who becomes romantically involved with Ernesto.

While most of Alberto Lattuada’s films were firmly entrenched in neorealism, The Bandit is a film that owes as much to Hollywood’s film noir as it does to neorealism. Film noir influences the visuals throughout, while neorealism influences the film through the use of actual decaying buildings instead of sets. Ultimately, The Bandit is an engrossing crime drama that works as well as it does because of its moral ambiguity.

Against the Law: A middle-class man who helps criminals launder counterfeit money becomes entangled in murder. When no one believes his story about another being there, he sets it upon himself to find the mystery man.

The opening setup and the story that unfolds bear a strong resemblance to the cinema of Alfred Hitchcock. Against the Law, like many of Alfred Hitchcock's thrillers, centers on a protagonist whom someone accuses of a crime he did not commit. Against the Law superbly executes 'The Wrong Man’ premise and the narrative does an excellent job concealing the truth of what happened.

The narrative implements an interesting twist that greatly enhances the story that unfolds: the police allow Marcello to escape and have him watched in hopes that he will help them uncover the missing pieces to solve the case. The narratives' use of two parallel investigations not only offers two different ways of searching for the truth, it helps keep things from getting predictable.

Even at this early stage of his career, Marcello Mastroianni (8 ½) already had a strong screen presence. He delivers an exemplary performance in the role of a wrongly accused man named Marcello. Another performance of note is Tino Buazzelli’s (After the Fox) portrayal of police commissioner Berenghi, the man in charge of the murder investigation. That said, when it comes to the rest of the performances, they all exceed expectations.

Film noir infuses the look and vibe of Against the Law. The well-crafted narrative does an excellent job creating tension and building momentum to a car chase finale that ends in a shootout. Ultimately, Against the Law is an exemplary crime drama that quickly draws you in and holds your attention.

Four Ways Out: Pietro Germi directed Four Ways Out. He’s known for Man of Straw, The Facts of Murder, The Railroad Man, Divorce Italian Style, and Seduced and Abandoned. Besides directing, he also acts and co-authors many of his films' screenplays.

Four men who rob a soccer match box office are forced to separate in the aftermath. Before they are able to divide the money, their nerves get the better of them, which allows the police to put the pieces together.

Where most films would provide some background on characters and maybe some preplanning of the crime, the narrative dives right into a heist unfolding. From there, the four men go their separate ways to avoid capture, splitting the narrative into four directions. That said, the narrative does an excellent job fleshing out the four men’s backstories as the police get closer to finding them.

What starts off as the perfect crime quickly unravels when characters' greed and inability to keep quiet about what they've done come back to haunt them. While there is a police investigation that unfolds, the focal point is the four thieves and how the crime they committed affects their personal lives.

When it comes to the performances, it is the four actors Renato Baldini (Girl with a Suitcase), Paul Muller (Nightmare Castle), Enzo Maggio Jr. (in his only acting role), and Fausto Tozzi (Cry of a Prostitute), who portray the four thieves who shine the brightest. Each actor delivers a compelling performance that humanizes their character. The most notable cast member is Gina Lollobrigida (Bread, Love, and Dreams), who portrays one of the thieves' girlfriends. Despite her top billing, she’s only in a few scenes.

Although Pietro Germi is more known for his work in the neorealism and commedia all'italiana genres, one must not overlook his contributions to crime cinema. Case in point, Four Ways Out, a film noir-infused crime drama that perfectly blends elements of neorealism. Visually, there are a handful of visually arresting moments that greatly heighten the mood; notably, each of the four thieves' moments of truth. Ultimately, Four Ways Out is an exemplary crime drama that goes beyond the crime, exploring the reasons behind it.

While previous World Noir releases have been a mixture of countries, this time around the focus is on Italian cinema. Radiance Films World Noir is quickly becoming my favorite series of films, and their fifth volume is my favorite to date. World Noir Volume 5 is another solid release from Radiance Films that gives each film a strong audio/video presentation and insightful extras. Highly recommended.

 

Written by Michael Den Boer