Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen. Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan... Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don. The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
意式警匪片
意大利式警匪片的特点（问题），用喧哗吵闹的气氛来讲述已经烂俗的英雄故事，其中必然还有絮絮叨叨、拖泥带水的爱情故事，这种猪肉注水的方式被运用得如此娴熟，以至于对于故事创作起到喧宾夺主的作用。
Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and in my opinion one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise...
意式警匪片中较有名的，外表莽汉的出狱男主人不可貌相颇为特别，末尾20分钟反转高能，借Luigi演的左派学者型警探与警长弗兰克沃尔夫的对立指出犯罪增长洗钱横行是源自南方贫民进城后窘境和权力层转移资产需求、警方只治标之荒谬，总之不缺角色复杂性和社会批判性，演员都往流氓外形上靠拢（就是说，不好看- -）但执导方面毫无超越类型片的野心，暴力度高却没啥艺术性比如末段血洗的镜头调度就缺乏亮点。前摇名盘Osan...
非常价值虚无：好人坏人罪人无辜的人都在杀来杀去中纷纷死掉。还是挺酷的。中间两个警察关于政治的讨论还挺应景，关于黑帮、关于贫富、关于学生运动、关于南北差距……一种70年代感迎面而来。以及，在片中又看到了米兰的Velasca大厦，粗野主义的代表性建筑，之前在Dino Risi的《鳏夫》里看到过了。
