Violent Streets: The Umberto Lenzi/Tomas Milian Collection – Severin Films (Blu-ray/CD Combo)

Theatrical Release Dates: Italy, 1974 (Almost Human), Italy, 1975 (Syndicate Sadists), Italy, 1976 (Free Hand for a Tough Cop), Italy, 1977 (The Cynic, the Rat and the Fist), Italy, 1978 (Brothers Till We Die)
Director: Umberto Lenzi (All Films)
Cast: Tomas Milian (All Films), Henry Silva, Laura Belli, Anita Strindberg, Ray Lovelock (Almost Human), Joseph Cotten, Evelyn Stewart (Syndicate Sadists), Claudio Cassinelli, Nicoletta Machiavelli, Henry Silva (Free Hand for a Tough Cop), Maurizio Merli, John Saxon (The Cynic, the Rat and the Fist), Pino Colizzi, Isa Danieli, Sal Borgese (Brothers Till We Die)

Release Date: March 28th, 2023
Approximate Running Times: 99 Minutes 20 Seconds (Almost Human), 93 Minutes 20 Seconds (Syndicate Sadists), 91 Minutes 50 Seconds (Free Hand for a Tough Cop), 99 Minutes 12 seconds (The Cynic, the Rat and the Fist), 99 Minutes 34 seconds (Brothers Till We Die)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC (All Films)
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English (All Films)
Subtitles: English, English SDH (All Films)
Region Coding: Region A (Almost Human, Free Hand for a Tough Cop), Region Free (Syndicate Sadists, The Cynic, the Rat and the Fist, Brothers Till We Die)
Retail Price: $134.95

Almost Human: "When a small-time criminal (a fearless performance by Milian) kidnaps a wealthy industrialist’s daughter, he’ll trigger a depraved spree of class warfare, sexual violence, mass murder and the rage of a police commissioner (Henry Silva) determined to end the carnage." - synopsis provided by the distributor

Syndicate Sadists: "Tomas Milian stars as a biker named Rambo (the actor borrowed the name from David Morrell’s 1972 novel First Blood) who avenges a friend’s murder by orchestrating a war between rival crime families" - synopsis provided by the distributor

Free Hand for a Tough Cop: "When a scheming convict (Milian) is sprung from prison by a hard-nosed cop (Claudio Cassinelli of What Have They Done to Your Daughters?), they’ll team up to hunt down Monnezza’s former crime partner (Henry Silva) who’s kidnapped a critically ill child." - synopsis provided by the distributor

The Cynic, the Rat and the Fist: "Tomas Milian as a cold-blooded crime boss known as ‘The Chinaman,’ John Saxon as a sadistic American mobster looking for his own piece of the action and Maurizio Merli as hot-headed rogue cop Leo Tanzi – first introduced in Lenzi’s The Tough Ones – gunning for them both." - synopsis provided by the distributor

Brothers Till We Die: "Tomas Milian delivers a brilliant dual performance reprising the roles of scheming lowlife Sergio ‘Er Monnezza’ Marazzi from FFree Hand for a Tough Cop as well as his twin brother, hunchbacked sociopath Vincenzo ‘Il Gobbo’ Marazzi from The Tough Ones. With Milian providing his own characters’ dialogue, it’s a potent odyssey of trans prostitutes, armed robberies, double crosses, randy Albanians, angry cops, insane asylums and some of the most startling pathos and politics in the history of the genre." - synopsis provided by the distributor

Video: 4.25/5 (Almost Human, Syndicate Sadists, Free Hand for a Tough Cop, The Cynic, the Rat and the Fist, Brothers Till We Die)

Here’s the information provided about this release's transfer, “now scanned uncut from the original negative."

Almost Human comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 30.2 GB

Here’s the information provided about this release's transfer, “now scanned uncut from the original negative."

Syndicate Sadists comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 27.9 GB

Here’s the information provided about this release's transfer, “now scanned in 2K from the original negative. "

Free Hand for a Tough Cop comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 27.5 GB

Here’s the information provided about this release's transfer, “now scanned uncut in 2K from the original negative."

The Cynic, the Rat and the Fist comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.3 GB

Feature: 29.8 GB

Here’s the information provided about this release's transfer, “now scanned uncut in 2K from the original negative."

Brothers Till We Die comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 29.6 GB

All of these films have been given Blu-ray releases in Europe, and though most of these films received strong transfers, there were a few, like Syndicate Sadists, that had a mediocre transfer. Fortunately for this release, Severin Films has created new transfers for all five films, and they have done additional work on the sources they were supplied with, making all five of these film transfers worthwhile upgrades. Flesh tones look correct, colors are nicely saturated, contrast is strong, black levels and image clarity are solid, compression is very good, and all five transfers retain an organic look.

Audio: 4.25/5 (DTS-HD Mono Italian, DTS-HD Mono English - Almost Human, DTS-HD Mono Italian, DTS-HD Mono English - Syndicate Sadists, DTS-HD Mono Italian, DTS-HD Mono English - The Cynic, the Rat and the Fist), 4/5 (DTS-HD Mono Italian - Free Hand for a Tough Cop, DTS-HD Mono English - Brothers Till We Die), 3.75/5 (DTS-HD Mono English - Free Hand for a Tough Cop, DTS-HD Mono Italian - Brothers Till We Die)

Each film comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. All films come with removable English subtitles for the Italian language track and removable English SDH subtitles for the English language track.

All of the audio tracks are in very good shape; the dialog comes through clearly, everything sounds balanced, and ambient sounds and the scores are well-represented. Almost Human’s two tracks sound similar quality-wise, and the issues with the Italian language track have been fixed for this release. Syndicate Sadists’ audio tracks sound similar quality-wise. Free Hand for a Tough Cop The Italian language track sounds more robust than the English language track. The Cynic, the Rat, and the Fist’s two audio tracks sound similar quality-wise. Brothers Till We Die, the English language track, sounds more robust, and the Italian language track has some mild background hiss.

Extras:

Extras for Almost Human include a theatrical trailer (3 minutes 23 seconds, DTS-HD mono English, no subtitles), an interview with actor Henry Silva titled Italian American Gangster (5 minutes 30 seconds, Dolby Digital stereo English, no subtitles), an interview with screenwriter Ernesto Gastaldi titled A History of Violence (37 minutes 44 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Tomas Milian titled Milian Unleashed (25 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an interview with director Umberto Lenzi titled Violent Milan (29 minutes 1 second, Dolby Digital stereo Italian with removable English subtitles), an audio commentary with Ernesto Gastaldi and moderated by Federico Caddeo in Italian with removable English subtitles, and an audio commentary with  Mondo Digital's Nathaniel Thompson and Troy Howarth, author of Make Them Die Slowly: The Kinetic Cinema of Umberto Lenzi.

Extras for Syndicate Sadists include a theatrical trailer (3 minutes 31 seconds, DTS-HD mono English, no subtitles), an interview with actor Bruno Di Luia titled Interview With The Fascist (24 minutes 17 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Alessandro Cocco titled Kidnapped (27 minutes 2 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Ida Galli titled Family Affair (17 minutes 13 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with director Umberto Lenzi (8 minutes 4 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras for Free Hand for a Tough Cop include a theatrical trailer (3 minutes 24 seconds, DTS-HD mono English, no subtitles), extended Bank Robbery scene sourced from the original negative (3 minutes 27 seconds, Dolby Digital mono English, no subtitles), an interview with producer Ugo Tucci titled Making Movies (12 minutes 10 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with cinematographer Nino Celeste titled Hand-Held Camera For a Tough Cinematographer (15 minutes 40 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with screenwriter Dardano Sacchetti titled The Father of Monnezza (34 minutes 2 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Corrado Solari titled Tough Guy Corrado (38 minutes 45 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Umberto Lenzi titled In The Asphalt Jungle (3 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles).

The extras for The Cynic, the Rat and the Fist include a theatrical trailer (3 minutes 41 seconds, DTS-HD mono English, no subtitles), an interview with actor John Saxon titled Here Comes The Fist (8 minutes 37 seconds, Dolby Digital stereo English, no subtitles), an interview with Dardano Sacchetti titled The Writer, the Director And the Actor (32 minutes, Dolby Digital stereo Italian with removable English subtitles), an interview with Umberto Lenzi titled Me, Milian And Merli (19 minutes 33 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Umberto Lenzi titled A Man of Action (10 minutes 13 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with Umberto Lenzi titledMerli vs. Milian (4 minutes 18 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras for Brothers Till We Die include a theatrical trailer (3 minutes 50 seconds, DTS-HD mono English, no subtitles), an interview with composer Antonello Venditti tilted Heart of Rome (18 minutes 51 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Franco Micalizzi titled Music And Bullets (19 minutes 32 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with editor Eugenio Alabiso titled He Called Me 'The Tamer' (19 minutes 28 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with Umberto Lenzi titled Tomas And Tomas (12 minutes 5 seconds, Dolby Digital stereo Italian with removable English subtitles).

Other extras include a CD with Almost Human’s score, a CD with Syndicate Sadists’ score and Brothers Till We Die’s score, a CD with The Cynic, the Rat, and the Fist’s score, and three cardboard inserts with track listings.

Summary:

Almost Human: Directed by Umberto Lenzi, who is best remembered for Cannibal Ferox, a notorious film that was banned in thirty-one countries. He was a versatile director who worked in just about every genre. The genre that he excelled the most in was the Italian crime film genre.

With Almost Human, he creates a claustrophobic atmosphere that builds to a fever pitch. And there is an escalation with a new act of violence that culminates in this film’s final confrontation. This moment also serves as a release, not only for the characters in the film but the audience as well.

Umberto Lenzi always makes good use of the widescreen frame, and Almost Human is filled with interesting compositions and symbolic imagery. One shot, in particular, stands out from the rest. It is during a scene where Giulio and his two accomplices have taken the occupants of a home hostage. And in this scene, they hang their hostages from a chandelier before mowing them down with their machine guns.

Ennio Morricone's ever-reliable score includes a few notes that sound suspiciously like the main theme from Sergio Sollima's film Revolver.

It is ultimately this film’s two leads, Tomas Milian (Run, Man, Run) in the role of Giulio Sacchi and Henry Silva (Cry of a Prostitute) in the role of Inspector Walter Grandi, that serve as this film’s anchor. The performances do a superb job of driving home this film’s nasty tone.

Tomas Milian is one of the most celebrated character actors to ever work in Italy. And he has created some of the most memorable characters who are overflowing with over-the-top bravado. And it is because of this that he often lifts average or lesser material and makes it nearly impossible to look away. Giulio Sacchi is a character that Tomas Milian was born to play. And when watching his performance in Almost Human, one can see hints of some of his other heavy roles that he has played over the years.

Henry Silva is cast in a role that is the polar opposite of the killers and other sinister roles that he has become known for. His portrayal of Inspector Walter Grandi is arguably one of his strongest performances. He delivers a pitch-perfect portrayal of an obsessive cop who will do just about anything to catch his man. His performance captures just the right amount of intensity without ever teetering over the edge. Ultimately, Almost Human is a brutal film that contains all of the moments of sleaze and visceral violence that have since become synonymous with the Italian crime film genre.

Syndicate Sadists:  Umberto Lenzi reunites with Tomas Milian; they had previously worked together on Almost Human. Syndicate Sadist's original director was Stelvio Massi (Emergency Squad). Though Syndicate Sadist's original idea began as an adaptation of David Morrell’s novel First Blood, the only thing that remains of the original source is the protagonist's name, Rambo. That said, Syndicate Sadists' premise borrows heavily from Sergio Leone’s A Fistful of Dollars.

The narrative revolves A drifter named Rambo is forced to take the law into his own hands when his friend, a cop, is killed in the line of duty. The case that his friend was working on involved a kidnapped boy. When Rambo finds out where the boy is hidden, he pits two rival crime syndicates against each other in the hopes that they will destroy each other.

Though Syndicate Sadists doesn’t bring anything new to the table that hasn’t been done before in countless films, what it lacks in originality, it more than makes up for with its explosive action set pieces. Standout action set pieces include a scene where two thugs looking for Rambo corner him while he plays pool, and Rambo uses his surroundings as weapons against these two men. The other is the finale, where Rambo takes out the bad guys one by one at a farm house. This sequence climaxes with a fantastic car and motorcycle chase.

Tomas Milan’s (The Tough Ones) performance in the role of Rambo overshadows everyone else. Rambo is the direct opposite of the nasty SOB Tomas Milan played in Almost Human. Rambo only kills in the name of vengeance or if his life is in danger. Besides the A Fistful of Dollars comparisons, one can also see a little bit of Death Wish’s Paul Kersey lurking inside Rambo.

The cast also features performances from Adolfo Lastretti (who is also known for looking like Dario Argento) and Luciano Pigozzi (the Italian Peter Lorre). In a limited role, Joseph Cotton (The Third Man) plays Paterno, one of the crime bosses in the film. Overall, the acting is adequate, with only Tomas Milan’s performance being the one that stands out.

From a production standpoint, Syndicate Sadists is a film that maximizes its resources. The narrative is briskly paced, and a solid ending provides a perfect climax. Syndicate Sadists features a sensational score from Franco Micalizzi, a composer who frequently worked with Umberto Lenzi. Also, outside of the scene where Rambo’s girlfriend is viciously beaten, the level of violence in this film is well below Umberto Lenzi’s usual standards. Ultimately, Syndicate Sadists is an entertaining revenge film with plenty of action.

Free Hand for a Tough Cop: Though Umberto Lenzi is often looked down upon for being a filmmaker for hire who worked in whatever genre was popular at the time, There’s no denying the impact that he had on Poliziotteschi. It’s also not surprising that this is the genre that he most excelled at, since he directed some of this genre's most celebrated films. Most notably, The Tough Ones and Almost Human.

When discussing Umberto Lenzi and Poliziotteschi cinema, one must not overlook the role that Tomas Milian played in most of these films. And in the case of Free Hand for a Tough Cop, he once again dominates the screen with another one of his over-the-top performances. Also, Free Hand for a Tough Cop marks the first time he will portray Sergio Marazzi, a.k.a. "Er Monnezza".

Though Free Hand for a Tough Cop has most of the elements that are synonymous with Poliziotteschi cinema, The result is a film that’s not as brutal as most of Umberto Lenzi’s Poliziotteschi. That said, irreverent humor plays a significant role, especially when it comes to Tomas Milian’s character's dialog. Fortunately, when it comes to Poliziotteschi cinema staples like car chases and shootouts, Free Hand for a Tough Cop delivers the goods.

The most interesting aspect of Free Hand for a Tough Cop is its premise: a police commissioner who joins forces with criminals who help him catch a kidnapper. And in the role of the police commissioner is Claudio Cassinelli, an actor who also made a name for himself in Poliziotteschi. Notably, Poliziotteschi starred in films like Killer Cop, Milano violenta, and Blood and Diamonds.

From a production standpoint, there are no areas where Free Hand for a Tough Cop comes up short. The premise is well-executed, and a briskly paced narrative that concludes with an explosive finale ensures there’s rarely a dull moment. Also, Umberto Lenzi’s direction is solid, and Bruno Canfora's score perfectly captures the tone of Free Hand for a Tough Cop. Ultimately, Free Hand for a Tough Cop is a well-made film that fans of Umberto Lenzi and Poliziotteschi are sure to enjoy.

The Cynic, the Rat and the Fist: Though there are a handful of directors who become synonymous with Poliziotteschi cinema. Pound for pound, Umberto Lenzi’s contributions to Poliziotteschi cinema are second to none.

By the time that Umberto Lenzi directed The Cynic, the Rat and the Fist, he had already directed six Poliziotteschi films. And unlike many of his contemporaries working in Poliziotteschi cinema, the thing that sets him apart from the rest of the pack is how he was able to bring new things to the table instead of relying heavily on established Poliziotteschi cinema elements.

That said, intense openings are one constant that’s present in all of Umberto Lenzi’s Poliziotteschi films. And with The Cynic, the Rat and the Fist, he once again comes out of the gate swinging with in your face opening that perfectly sets the tone for the events that unfold.

Content wise, though The Cynic, the Rat and the Fist uses many of the hallmarks of Poliziotteschi cinema’s to great effect. Ultimately, it’s new elements like an elaborate heist sequence that showcase Umberto Lenzi’s ability to work outside of the box.

Performance wise the cast are all very good in their respective roles, especially Tomas Milian (Don’t Torture a Duckling) in the role of Luigi ‘The Chinaman’ Maietto. He delivers yet another captivating performance that’s inline with psychotic characters that’s most known for portraying. That said, though his character has limited screen time, his performance is a text-book example of how an actor that dominates every scene that he’s in.

Other notable cast members include, Maurizio Merli (Convoy Busters) in the role of Inspector Leonardo Tanzi and John Saxon (Black Christmas) in the role of a sadistic mob boss named Frank Di Maggio.

From a production standpoint, there’s not an area where The Cynic, the Rat and the Fist does not deliver and then some. The briskly paced narrative does a superb job maintaining intensity, Franco Micalizzi’s score perfectly reinforces the mood and there are an ample amount of well-executed action set pieces.

Standout moments include, a scene where hit-men sent by the ‘Chinaman’ surprise Inspector Tanzi who narrowly escapes with his life, a scene where Tanzi helps a friend whose sister who’s caught up in a prostitution ring that’s being run by a photographer and an elaborate heist sequence where Tanzi arrives before the real thieves and disarms the alarms for them. Ultimately, The Cynic, the Rat and the Fist is an intense film that fans of Poliziotteschi cinema should thoroughly enjoy.

Brothers Till We Die: Throughout cinema’s history there have been many standout actor/director combinations. And arguably one of Italian cinema’s greatest actor/director collaborations was Tomas Milian and Umberto Lenzi. In all, they work on a total of five films, culminating with Brothers Till We Die.

Content wise, though Brothers Till We Die has all the core elements that have become synonymous with Poliziotteschi (Italian crime films) cinema. The result is a tongue in cheek film that’s polar opposite of bleak tone associated with Poliziotteschi cinema. Another area where Brothers Till We Die differs from most Poliziotteschi cinema, is its lack of social commentary. There are no sides in Brothers Till We Die, just shades of grey.

Without a doubt, Brothers Till We Die’s greatest asset is Tomas Milian (The Big Gundown). And in Brothers Till We Die, you get two times Tomas Milian, who portrays two of his most celebrated characters, the Hunchback and Monnezza. He delivers delirious performances that are overflowing with enthusiasm and fully embrace the absurdity that unfolds.

Though, Umberto Lenzi is often dismissed as a work-man director who lacks an auteur touch. Brothers Till We Die is another solid example of how good of a director he actually was. Not only does he take full advantage of every composition. His ability to create tense action set pieces is second to none. Ultimately, Brothers Till We Die is a very satisfying mix of humor and mayhem.

Though there are many who already have bought other releases of the films that make up Violent Streets: The Umberto Lenzi/Tomas Milian Collection, Severin Films has done a great job improving the transfers and adding new extras. That said, some who already own other releases of these films may want to hold on to those editions since they have extras that have not been ported over for this release. Violent Streets: The Umberto Lenzi/Tomas Milian Collection is an exceptional release from Severin Films that comes with solid video presentations and a wealth of informative extras, highly recommended.

Written by Michael Den Boer

The Beast in Space – Peekarama (Blu-ray)

Theatrical Release Date: Italy, 1980
Director: Al Bradley (Alfonso Brescia)
Writer: Alfonso Brescia
Cast: Sirpa Lane, Vassilli Karis, Lucio Rosato, Robert Hundar, Venantino Venantini

Release Date: January 31st, 2023
Approximate Running Time: 92 Minutes 51 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Italian
Subtitles: English
Region Coding: Region Free
Retail Price: $39.98

"In the distant future, Captain Larry Madison, the most heroic leader of the space fleet, has been sent on a mission to Lorigon, a far off planet known to be the galaxy’s greatest resource for Antalium, a precious metal needed to create weaponry. However, when they reach the planet, they discover that it’s overseen by a powerful computer which is capable of forcing all those near it to engage in mindless debauchery. Determined to overcome its effects, Madison and his crew wade through jungles and valleys in search of Antalium…but why does Lt. Sondra Richardson keep having strange sexual nightmares involving a well endowed beast?" - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about the transfer, "Newly scanned & restored in 2K from its 16mm original camera negative."

The Beast in Space comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.3 GB

Feature: 25.2 GB

The source used for this transfer is in great shape. Colors and flesh tones look correct, black levels are strong, the image generally looks crisp (there are some soft focus moments where the image is not as crisp), there are no issues with compression, and though grain remains intact, it is noticeably thicker at some moments.

Audio: 3.75/5

This release comes with one audio option, a DTS-HD mono mix in Italian, and included are removable English subtitles. Though the audio sounds clear and balanced, range-wise, things sound limited. Also, there are some sibilance-related issues.

Extras:

Extras for this release include an interview with actor Vassili Karis titled Space Amnesia (10 minutes 23 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Lucio Rosato titled Space Lover (22 minutes 34 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Venantino Venantini titled Space Oddity (9 minutes 10 seconds, Dolby Digital stereo English with removable English SDH subtitles), reversible cover art, and an spot gloss slipcover limited to 4,000 units.

Summary:

Though Italian genre cinema cycles were inspired by whatever was popular in Hollywood, these films were always low-budget compared to the Hollywood they tried to replicate. That said, what Italian genre cinema cycles lacked in budget, they more than made up for in ingenuity.

The Beast in Space is part of a cycle of Italian films that were inspired by Star Wars' success. There is even a brief nod to Star Wars when Captain Larry fights some blonde robot drones with swords that look like lightsabers.

The Beast in Space was directed by Alfonso Brescia, a filmmaker who was in high demand during the late 1970s Italian sci-fi cinema boom. He also directed War of the Robots, War of the Planets, Space Odyssey, and Battle of the Stars. If you have seen any of Alfonso Brescia’s other films, then you have an idea of what to expect from The Beast in Space.

The cast is mostly made up of performers who never really became stars, and many of them also worked on director Alfonso Brescia's other sci-fi films. The only cast member of note is actress Sirpa Lane, whose character is tormented by a beast-like creature that resembles the monster in Walerian Borowczyk’s film The Beast. On the surface, it would appear that the producers added a similar-looking beast to The Beast in Space in hopes of capitalizing on its connection with Sirpa Lane. There are too many similarities to pass this one off as a coincidence.

The Beast in Space is equal parts space opera and sex film. The narrative feels drawn out, the sex scenes are not erotic, and the sets and costumes look cheap. Oddly enough, The Beast in Space’s strongest asset is Marcello Giombini’s (Knife of Ice) score. That said, when all is said and done, The Beast in Space is bad cinema taken to another level that defies categorization.

The Beast in Space gets a first-rate release that comes with a strong audio/video presentation and a trio of informative extras. This release is recommended for fans of bad cinema.

Written by Michael Den Boer

The Working Class Goes to Heaven: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Italy, 1971
Director: Elio Petri
Writers: Elio Petri, Ugo Pirro
Cast: Gian Maria Volontè, Mariangela Melato, Gino Pernice, Luigi Diberti, Corrado Solari, Flavio Bucci, Nino Bignamini, Alberto Fogliani, Carla Mancini, Orazio Stracuzzi

Release Date: January 2nd, 2023 (UK)
Approximate running time: 115 Minutes 18 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region B
Retail Price: OOP

"Gian Maria Volonté (A Fistful of Dollars), stars in one of provocative filmmaker Elio (Investigation of a Citizen Above Suspicion) Petri's most politically charged films as factory worker Lulu: a man on the verge of a nervous breakdown. Too tired to sleep with his girlfriend, cut out of his son’s life by his ex, humiliated and disrespected, Lulu turns revolutionary following an accident at work." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “The Working Class Goes to Heaven was scanned in 2K from an interpositive and restored and color graded by Studio Cine, Rome in 2020. Additional color correction was performed by Radiance Films in 2022 with a video transfer of a 35mm print used as a color reference.”

The Working Class Goes to Heaven comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 31.4 GB

The source used for this transfer is in excellent shape. Colors are nicely saturated, flesh tones look healthy, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Italian, and included are removable English subtitles. The audio sounds clean, clear, and balanced. Range-wise, things sound very good.

Extras:

Extras for this release include a theatrical trailer (3 minutes 39 seconds, Dolby Digital mono Italian with removable English subtitles), an archival documentary titled The Working Class Goes to Heaven - Background to a Film Shot in Novara (49 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), a video essay by scholar Matthew Kowalski titled Petri's Praxis: Ideology and Cinema in Post-war Italy (20 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an appreciation of Gian Maria Volonté and The Working Class Goes to Heaven by filmmaker Alex Cox (10 minutes 10 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Corrado Solari (15 minutes 3 seconds, Dolby Digital stereo Italian with removable English subtitles), a career-encompassing archival interview with Gian Maria Volonté from French TV (35 minutes 13 seconds, Dolby Digital mono French and Italian with removable English subtitles), an archival interview with Elio Petri from the Cannes Film Festival (6 minutes 38 seconds, Dolby Digital mono French with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 56-page booklet (limited to 2000 copies) cast & crew information, an essay titled La Classe Operaia Va in Paradiso written by Eugenio Renzi, an essay titled Of Broken Toes and Malfunctioning Gears written by Roberto Curti, Excerpt From: “Unifying Function of The Classical Scene” written by Pascal Kane, interview with Elio Petri, a contemporary review of The Working Class Goes to Heaven titled The Working Class Goes Directly to Heaven, Without Passing Go: or, The Name of the Game is Still Monopoly written by James Roy Macbean, and information about the transfer.

Summary:

The Working Class Goes to Heaven was co-written and directed by Elio Petri, whose other notable films include The Assassin (L'assassino), The 10th Victim, A Quiet Place in the Country, Investigation of a Citizen Above Suspicion, and Property Is No Longer a Theft. The Working Class Goes to Heaven is the second film in a trilogy of films called Trilogy of Neurosis; the other two films are Investigation of a Citizen Above Suspicion and Property Is No Longer a Theft.

The Working Class Goes to Heaven firmly establishes its mood with its stark white and black opening credits, with Ennio Morricone’s piercing main theme in the background. What unfolds is a condemnation of capitalism and its negative effects on the working class.

Gian Maria Volonté (for a few dollars more) has been cast in the role of Ludovico "Lulù" Massa, an arrogant worker who is hated by his co-workers for being too efficient. He delivers another spectacular performance that dominates every scene. And when Lulu loses his finger in a workplace accident, he does a superb job conveying Lulu’s struggles due to his injury. That said, there is no performance that is lacking.

As mentioned before, Ennio Morricone’s score plays a significant role. Throughout his career, Ennio Morricone worked with a few of Italy's more prominent filmmakers. And though it is always easy to recognize one of his scores within a few seconds, the thing that is most impressive about his scores is how he created a unique sound for each of the prominent filmmakers he worked with. His score for The Working Class Goes to Heaven also incorporates industrial sounds, which fit perfectly within the factory setting.

From a production standpoint, The Working Class Goes to Heaven is a film where everything falls into place. The premise is executed with the utmost precision, and a well-crafted narrative does a superb job building towards an exceptional ending that puts an exclamation mark on the events that proceeded. Also, Elio Petri’s direction lets the performances take center stage, while the visuals and Ennio Morricone's score create a hypnotic rhythm. Ultimately, The Working Class Goes to Heaven is an extraordinary exploration of the exploitation of the working class.

The Working Class Goes to Heaven gets a definitive release from Radiance Films, highly recommended.

Written by Michael Den Boer

The Assassin (L'assassino) – Arrow Academy (Blu-ray/DVD Combo)

Theatrical Release Date: Italy, 1961
Director: Elio Petri
Writers: Pasquale Festa Campanile, Massimo Franciosa, Tonino Guerra, Elio Petri
Cast: Marcello Mastroianni, Micheline Presle, Cristina Gaioni, Salvo Randone, Andrea Checchi, Francesco Grandjacquet, Marco Mariani, Franco Ressel

Release Date: April 18th, 2017
Approximate running time: 98 Minutes 14 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region A,B / Region 1,2 NTSC
Retail Price: $39.95

"Released within months of Fellini's La Dolce Vita and Antonioni's La Notte, Elio Petri's dazzling first feature The Assassin (L'Assassino) also stars Marcello Mastroianni, this time as dandyish thirtysomething antiques dealer Alfredo Martelli, arrested on suspicion of murdering his older, far wealthier lover Adalgisa (Micheline Presle). But as the increasingly Kafkaesque police investigation proceeds, it becomes less and less important whether Martelli actually committed the crime as his entire lifestyle is effectively put on trial." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, "The digital restoration of L'assassino was made from the original camera negative which was missing the first and last roll, and from a first- generation interpositive. These two elements were scanned at 2K resolution for this restoration. The grading was carried out by referring to the original print version that was held by the production company Titanus in the archives of the Cineteca di Bologna. The sound was extracted from a 35mm negative and digitally remastered. The work was carried out at the L'Immagine Ritrovato laboratory in 2011."

The Assassin (L'assassino) comes on a 50 GB dual layer Blu-ray.

Disc Size: 37 GB

Feature: 26.7 GB

The bulk of the transfer was sourced from the original camera negative, while the opening and closing reels had to be sourced from a first-generation inter-positive. The contrast and black levels look very good for the majority of the time. Though grain structure looks natural, it tends to vary in thickness from scene to scene. And outside of a few minor moments where the image looks a tad too soft, the image generally looks crisp throughout. Of course, the opening and closing reels are the sections that look the weakest.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. Though range-wise things are limited, dialog comes through clearly, everything sounds balanced, and the score sounds appropriately robust. Also, there are no issues with distortion or background noise.

Extras:

Extras for this release include a theatrical trailer (3 minutes 45 seconds, LPCM mono Italian with removable English subtitles), an with Italian cinema expert Pasquale Iannone titled Elio Petri and L’Assassino (9 minutes 39 seconds, Dolby Digital stereo English subtitles, no subtitles), a documentary titled Tonino Guerra: A Poet in the Movies (51 minutes 15 seconds, Dolby Digital stereo Italian with non-removable English subtitles), reversible cover art, and a forty page booklet (limited to first pressing) with cast & crew information, an essay titled Elio Petri’s L'assassino written by Camilla Zamboni, Contemporary Reviews, an essay about Italian cinema titled Italian Cinema: a Castrated Elephant written by Elio Petri, and information about the transfer.

Included with this release is a DVD that has the same content as the Blu-ray included as part of this combo release.

Summary:

The Assassin (L'assassino) was co-written and directed by Elio Petri, whose other notable films include The 10th Victim, A Quiet Place in the Country, Investigation of a Citizen Above Suspicion, and Property Is No Longer a Theft. Key collaborators on The Assassin (L'assassino) include screenwriters Tonino Guerra (L’Avventura, La Notte, L’Eclisse) and Pasquale Festa Campanile (Hitch Hike), cinematographer Carlo Di Palma (Blow-Up, Identification of a Woman), composer Piero Piccioni (Contempt, Camille 2000), and editor Ruggero Mastroianni, a frequent collaborator of Federico Fellini and Luciano Visconti. L’Assassino is also known under the alternative title The Ladykiller of Rome.

The Assassin (L'assassino) is a different kind of Italian thriller that owes more to Franz Kafka's literary works than to the black-gloved killers who were about to become synonymous with the Italian thriller by the mid-1970s. 

At the core of The Assassin (L'assassino) is a murder mystery where the police are quick to rush to judgment and, in the process, forever change an innocent man’s life. The majority of the story is told through the protagonist, who is brought to the police station a few minutes into the film and spends the majority of it there. Once in custody, the protagonist is put through a series of usual interrogations in the hope of breaking him and ultimately forcing him to confess. Along the way, most of the backstory is filled in as flashbacks retrace the events as the protagonist remembers them.

Content wise The Assassin (L'assassino) would deal with themes that would run rampant throughout Elio Petri’s other films, most notably isolation and corruption. In the grand scheme of things, he was doing more than simply creating cinema; he was using cinema to explore how society was changing around him.

Without a doubt the most striking aspect of The Assassin (L'assassino) is its stunning cinematography. Every frame is exquisitely composed for maximum effect. So not only do the visuals create a tremendous amount of atmosphere, but they also offer up additional subtext to what the characters are saying. A few standout moments visually include a scene where the police commissioner interrogates the protagonist and the hotel manager at the bottom of a spiral staircase at the place where the murder happened. Another standout visual moment is the scene where the protagonist is put in a room by himself after arriving at the police station, and on the other side of a one-way mirror is the police commissioner watching his very nervous move.

Marcello Mastroianni (8 1/2) has been cast in the role of this film’s protagonist, a man named Nello Poletti, and he turns in yet another remarkable performance. He effortlessly conveys all the right emotions as his character tries to maintain his sanity as his world crumbles around him. Another performance of note is Salvo Randone in the role of the police commissioner. And the remaining cast members are all more than adequate in their respective roles. Ultimately, The Assassin (L'assassino) is a first-rate thriller that does a superb job walking that delicate line between what is real and what is fiction.

The Assassin (L'assassino) gets an excellent release from Arrow Academy that comes with a solid audio/video presentation and a trio of insightful extras, highly recommended.

Written by Michael Den Boer

The 10th Victim - Blue Underground (Blu-ray)

Theatrical Release Date: Italy, 1965
Director: Elio Petri
Writers: Tonino Guerra, Giorgio Salvioni, Ennio Flaiano, Elio Petri, Ernesto Gastaldi
Cast: Marcello Mastroianni, Ursula Andress, Elsa Martinelli, Salvo Randone, Massimo Serato, Milo Quesada, Luce Bonifassy, George Wang, Evi Rigano, Walter Williams, Richard Armstrong, Antonio Ciani, Jacques Herlin, Wolfgang Hillinger, Mickey Knox, Anita Sanders

Release Date: September 13th, 2011
Approximate Running Time: 92 Minutes 20 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH, French, Spanish
Region Coding: Region Free
Retail Price: $19.99

" It is the 21st Century, and society's lust for violence is satisfied by “The Big Hunt,” an international game of legalized murder. But when the sport's two top assassins (Marcello Mastroianni and Ursula Andress) are pitted against each other, they find that love is the most dangerous game of all. As the world watches, the hunt is on. Who will become The 10th Victim?" - synopsis provided by the distributor

Video: 3.5/5

Here’s the information provided about the transfer, "newly remastered from the original negative."

The 10th Victim comes on a 50 GB dual layer Blu-ray.

Disc Size: 24.7 GB

Feature: 20 GB

The source used for this transfer is in very good condition; any flaws at the source are minor. Colors look vibrant, flesh tones look correct, image clarity and black levels are strong, and compression is very good. Also, though grain is present, there appears to be some grain management applied to this transfer. That said, despite this transfer's shortcomings, it is a marked improvement over The 10th Victim's previous North American home video releases.

Audio: 3.75/5 (DTS-HD Mono Italian), 3.25/5 (DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. The Italian language track is the stronger of the two tracks. Besides sounding clearer, it is also more robust than the English-language track. That said, dialog always comes through clearly on both tracks. Included are removable English subtitles for the Italian language track and removable English SDH subtitles for the English language track. Other subtitles include removable French and removable Spanish subtitles.

Extras:

Extras for this release include a poster & still gallery, Marcello Mastroianni still gallery, U.S. theatrical trailer (1 minute 47 seconds, Dolby Digital mono English, no subtitles), Italian theatrical trailer (2 minutes 31 seconds, Dolby Digital mono Italian with removable English subtitles), and documentary about Marcello Mastroianni titled Marcello: A Sweet Life (98 minutes 15 seconds, Dolby Digital stereo Italian with non-removable English subtitles).

Summary:

The 10th Victim was co-written and directed by Elio Petri, whose other notable films include The Assassin (L'assassino), A Quiet Place in the Country, Investigation of a Citizen Above Suspicion, and Property Is No Longer a Theft. The 10th Victim is an adaptation of a story written by Robert Sheckley titled The Seventh Victim. 

The cinematographer on The 10th Victim was Gianni Di Venanzo, whose impressive filmography includes Il grido, Big Deal on Madonna Street, La note, L’eclisse, Federico Fellini’s 81/2, and Juliet of the Spirits. After The 10th Victim, Gianni Di Venanzo would only work on one more film before his untimely death at the age of 45.

The score for The 10th Victim was composed by Piero Piccioni, whose other notable scores include Duel of the Titans, The Lady Killer of Rome, La Commare Secca (The Grim Reaper), Contempt (the Italian and Spanish versions), The Nuns of Saint Archangel, and Story of a Cloistered Nun.

The narrative revolves around two characters, Marcello Polletti and Caroline Meredith, who are both participating in "The Big Hunt." Marcello is the hunted, while Caroline is the hunter in search of her 10th victim. She soon discovers that he is not as easy a target as her previous victims as he leads her around on a series of misadventures as he tries to figure out who she is and what she wants. This cat-and-mouse game that evolves between these two characters is the most enjoyable part of the film.

The cast of The 10th Victim is strong, led by Marcello Mastroianni's (8 1/2) performance as Marcello Polletti, a charismatic character who fits the type of character he was frequently cast to play. Cast in the role of Caroline Meredith, the other lead is Ursula Andress (Dr. No). Though she gives a good performance, one has to wonder if Ann-Margret, the original choice, would have been a better fit in the role of Caroline Meredith. Having said that, there is a scene with Ursula Andress that clearly inspired the Austin Powers: International Man of Mystery machine gun breast assassins.

From a production standpoint, there is not an area where The 10th Victim does not deliver and then some. The premise is superbly realized, the narrative does a great job building momentum, and a very satisfying finale provides the perfect climax. Also, The 10th Victim takes full advantage of the Rome locations in the film. All of the sets used are beautifully designed and realized. Ultimately, The 10th Victim is a highly entertaining farce that fans of Eurospy films and campy 1960s sci-fi cinema are sure to thoroughly enjoy.

The 10th Victim gets a good release from Blue Underground that comes with a strong audio/video presentation and an informative documentary.

Written by Michael Den Boer