Un commissario di polizia cerca di consegnare un gangster alla giustizia mentre i crimini fuori controllo del boss mettono contro di lui anche i suoi stessi alleati della malavita.Un commissario di polizia cerca di consegnare un gangster alla giustizia mentre i crimini fuori controllo del boss mettono contro di lui anche i suoi stessi alleati della malavita.Un commissario di polizia cerca di consegnare un gangster alla giustizia mentre i crimini fuori controllo del boss mettono contro di lui anche i suoi stessi alleati della malavita.
- Regia
- Sceneggiatura
- Star
Ida Galli
- Lucia Parisi
- (as Evelyn Stewart)
Recensioni in evidenza
I have always craved for Polizziotescos, the Italian crime films from the seventies. All violent, brutal, bloody macho flicks, showing Italian but also American actors - here Henry Silva. Henry Silva plays the gangster, a nasty character - but I don't remember Henry Silva playing a cop. I mean, as far as I know, maybe he did...That said, this movie is not the best Polizziotesco ever, just a tough, gritty one. Not at the level of the Damiano Damiani, Fernando Di Leo or Umberto Lenzi's films. However, this movie is a must see for Italian crime flicks lovers. I don't know any of the actors, except Henry Silva.
I'm not sure I agree this is a classic example of the '70s Italian crime film genre, but it certainly is a solid example of one. Personally, I felt that the classic examples, the best of the genre, were put together better. I agree with the comment that said it was a bit slap-dash. Has an odd combination of interesting plot twists and real agonizing drawn out "you know xyz is going to happen". The latter are pretty trite and that's not something I'm used to seeing in the genre and I think it's weak that way. But for all the other reasons you watch one of these, it's a solid example, so I'm giving it 6/10. The scenes of Naples are fun and stitch the whole thing together.
Food suggestion: pizza margherita and a cheeky red wine
Food suggestion: pizza margherita and a cheeky red wine
WEAPONS OF DEATH is an unexpected and unusual sequel to the Lenzi hit VIOLENT NAPLES. Sadly, Lenzi doesn't return for this production, although Mario Caiano is a more than able replacement, and neither does Maurizio Merli as the tough protagonist. He's replaced by the less beefier Leonard Mann, who's less imposing but equally tough. The one returning character is the kid whose father owned a garage in the first film, but other than that this tells the typical story of an endless crimewave and a head honcho bad guy, played with menacing relish by Henry Silva. The plot is brisk and the action brisker, with limitless stylish vehicle chases through the streets of Naples and all manner of shoot-outs. Great fun!
It's a mean, lean, Italian crime machine starring the skinny Leonard Mann as a cop out to get violent robber/mob boss Henry Silva, who is giving crime a bad name with his proactive approach to robbery (he shoots everyone, basically). Weirdest of all, you know that kid who got crippled in Violent Naples...this is somehow a sequel to that too!
Mann the man is in Naples and he knows that Santoro (Silva) is the jerk robber, but seeing as how Silva is willing to finish off any of his own men that are wounded during these robberies, it's gonna be a hard slog for Mann. He's got to fight his way through many bad guys to get to Silva, but luckily he's got an undercover squad of cops and a crippled kid with a taste for petty crime to help him out.
To be fair Silva has the highest mob boss in Naples watching his back so he does okay too, and we all know what's going to happen, but then again it's all about how we get there, right? This one has many car chases, explosions, robberies, bag snatching, a mob attacking a Jimmy Saville guy who then gets his knackers cut off in prison, and best of all, Massimo Vanni turns up as an undercover cop who gets decapitated for his troubles (and that's not the last time Massimo loses his head in one of these films).
This one ticks all the boxes and rarely puts a foot wrong. Mario Caiano is a solid director, which makes you wonder why he made that abysmal Deported Woman of the SS Special Section.
Mann the man is in Naples and he knows that Santoro (Silva) is the jerk robber, but seeing as how Silva is willing to finish off any of his own men that are wounded during these robberies, it's gonna be a hard slog for Mann. He's got to fight his way through many bad guys to get to Silva, but luckily he's got an undercover squad of cops and a crippled kid with a taste for petty crime to help him out.
To be fair Silva has the highest mob boss in Naples watching his back so he does okay too, and we all know what's going to happen, but then again it's all about how we get there, right? This one has many car chases, explosions, robberies, bag snatching, a mob attacking a Jimmy Saville guy who then gets his knackers cut off in prison, and best of all, Massimo Vanni turns up as an undercover cop who gets decapitated for his troubles (and that's not the last time Massimo loses his head in one of these films).
This one ticks all the boxes and rarely puts a foot wrong. Mario Caiano is a solid director, which makes you wonder why he made that abysmal Deported Woman of the SS Special Section.
My personal favorite of overlooked director Mario Caiano's films, this movie is pretty much THE formula for an extremely successful 70's Italian crime movie. First off, it's got the exotic Neopolitan locations down pat and does a good job showing how brutal the streets can be with plenty of random bank-robbery and purse-snatching going on. Secondly, it's got a wonderful cast headed up by Henry Silva as a slimy underworld boss who gets a little too ambitious for his own good, robbing a money train and a refinery in broad daylight. Of course one shouldn't overlook Leonard Mann, Adolfo Lastretti, Benito Pacifico, Ottaviano Dell'Acqua and the rest of the regular euro-crime gang that pops by. Thirdly, this film has tons of action, violence, and random explosions to not only keep the casual viewer awake, but highly entertained!
Mario Caiano certainly nursed some deep inner antisocial and cruel streak as this film often goes out of its way into pure sadism. An example is where a car gets knocked out of the way by a big rig during a chase scene. The script probably simply said just that, but instead Caiano focuses on the poor family inside the car getting knocked around as it tumbles down an embankment and smashing into a gully. Is it good enough to show they're dead? No, just in case you had any doubt they'd be okay, the car then bursts into a massive explosion far in excess of whatever fuel was in the tank. It's almost comical in its cruelty.
This is probably one of the most violent of the 70's Italian crime films with lots of shootouts, protracted car crashes, people on fire, mutilated faces, a Gino De Rossi-patented decapitation, and such. Additionally, a very memorable musical score by Francesco De Masi, possibly one of his best and most widely copied of all his scores.
This film has many tie-ins with Umberto Lenzi's NAPOLI VIOLENTA (which starred Maurizio Merli and John Saxon), since it has a reappearance of the Gennaro kid that got crippled in that movie, here he's back and turned to a life of petty crime. The musical cues that follow little Gennaro in particular are very memorable, as they vary on the same theme depending on the situation, creating a very good effect towards the tragic ending.
For a crude, down-n-dirty excursion into the mean streets of 70's Naples, I can't recommend this movie enough. It's too bad NAPOLI SPARA is just so hard to find. It's not as slick as any of Umberto Lenzi's films from around the same time but delivers on most of the rest of the goods.
-UPDATE AT OF 2020- Back in 2012 I ran into Leonard Mann by complete coincidence walking by me on Las Palmas Ave. in Hollywood, California while he was on his phone. Not bothered by a random fan in the least, he actually hung up on his call immediately after I said, "hey Leonard!". I asked him about this movie and he laughed, saying that we were probably the only two people in a thousand mile radius who had ever heard of WEAPONS OF DEATH (which he referred to by its English title). He's a really nice and relatable regular guy who said he loved working on Italian films but couldn't parlay his career too well into American cinema. He ended up going to the psychiatrist so many times due to his frustration that he ended up becoming one himself, now only dipping his toe into creative work here and there by penning the occasional play.
Mario Caiano certainly nursed some deep inner antisocial and cruel streak as this film often goes out of its way into pure sadism. An example is where a car gets knocked out of the way by a big rig during a chase scene. The script probably simply said just that, but instead Caiano focuses on the poor family inside the car getting knocked around as it tumbles down an embankment and smashing into a gully. Is it good enough to show they're dead? No, just in case you had any doubt they'd be okay, the car then bursts into a massive explosion far in excess of whatever fuel was in the tank. It's almost comical in its cruelty.
This is probably one of the most violent of the 70's Italian crime films with lots of shootouts, protracted car crashes, people on fire, mutilated faces, a Gino De Rossi-patented decapitation, and such. Additionally, a very memorable musical score by Francesco De Masi, possibly one of his best and most widely copied of all his scores.
This film has many tie-ins with Umberto Lenzi's NAPOLI VIOLENTA (which starred Maurizio Merli and John Saxon), since it has a reappearance of the Gennaro kid that got crippled in that movie, here he's back and turned to a life of petty crime. The musical cues that follow little Gennaro in particular are very memorable, as they vary on the same theme depending on the situation, creating a very good effect towards the tragic ending.
For a crude, down-n-dirty excursion into the mean streets of 70's Naples, I can't recommend this movie enough. It's too bad NAPOLI SPARA is just so hard to find. It's not as slick as any of Umberto Lenzi's films from around the same time but delivers on most of the rest of the goods.
-UPDATE AT OF 2020- Back in 2012 I ran into Leonard Mann by complete coincidence walking by me on Las Palmas Ave. in Hollywood, California while he was on his phone. Not bothered by a random fan in the least, he actually hung up on his call immediately after I said, "hey Leonard!". I asked him about this movie and he laughed, saying that we were probably the only two people in a thousand mile radius who had ever heard of WEAPONS OF DEATH (which he referred to by its English title). He's a really nice and relatable regular guy who said he loved working on Italian films but couldn't parlay his career too well into American cinema. He ended up going to the psychiatrist so many times due to his frustration that he ended up becoming one himself, now only dipping his toe into creative work here and there by penning the occasional play.
Lo sapevi?
- QuizHenry Silva's voice was dubbed by another actor in the English language version.
- ConnessioniFeatured in Ultimate Poliziotteschi Trailer Shoot-Out (2017)
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
- How long is Weapons of Death?Powered by Alexa
Dettagli
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti
Divario superiore
By what name was Napoli spara! (1977) officially released in India in English?
Rispondi