Vanni is the archetypal frustrated detective, who is constantly reminded of the red tape and bureaucracy that stands between him being able to rid Turin of criminal scum like The Black Angel. The hero of the piece is Inspector Vanni (played efficiently and robustly by French actor Marcel Bozzuffi) who is exercising a vendetta against The Black Angel (Ivan Rassimov) with extreme prejudice. It doesn’t attempt to give the characters any depth, but it certainly develops individual motivations. Dallamano in conjunction with three others (Franco Battari, Marco Guglielmi and Ettore Sanzó) and in addition to a swift pace which rarely drags its feet, the screenplay gives an equal amount of weighting to the good guys and the bad guys. One of the great tragedies of popular Italian cinema was that Colt 38 Special Squad would be Dallamano’s last picture certainly on the evidence displayed here Dallamano could have made a number of vital contributions to the cycle, and would no doubt have further enriched a variety of generic soil.
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He seems far more confident amongst the chase sequences, shootouts, fistfights, and vengeful violence of this cycle than the muted atmospherics of the passable The Night Child (1975), the rather dry and forgettable horror flick that preceded it.
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It is this fusion of elements which points forward to Dallamano’s inevitable full blown entry into the Polizio/Euro-crime cycle with the fast paced thriller Colt 38 Special Squad.
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The former totally outgrew the Edgar Wallace pot-boiler which it took tacit inspiration from, and the latter injected some of the high octane action strategies of the Polizio/Euro-crime cycle into its formulaic gialli narrative. The giallo double of What Have They Done to Solange? (1971) and What Have They Done to Your Daughters? (1974) were remarkably consistent examinations of not only corrupted innocence, but also how a mask of innocence and youth can conceal all manner of perversions. I say generally because his 1969 take on Venus in Furs left me cold, unimpressed, and most damagingly of all bored! But since that fateful afternoon where I lost ninety minutes of my life to that asinine garbage, the films of his I have screened have had me reaching for the superlatives. Thus far on every occasion that a film directed by Massimo Dallamano has crossed my line of sight and made it to the screen, I’ve generally been impressed by the results.