Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Exoticalot People are voting emotionally.

Matho The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

gavin6942 A chief of detectives (Gian Maria Volontè), homicide section, kills his mistress (Florinda Bolkan) and deliberately leaves clues to prove his own responsibility for the crime.I absolutely loved this film. It is part crime thriller, part detective story, and a bit of political corruption. Being Italian and having an Italian sensibility, it reminded me more than a little bit of the giallo film genre. But yet, it was distinct. The giallo is in some ways the precursor to the slasher, and this was not that sort of film -- not gory and the killer is not a masked and gloved man.What really stands out is the score from Ennio Morricone. He has made many scores over the years and without exception they have been quite good. Is he the best composer of the 20th century? Maybe. And I would daresay this is among his very best, easily in the top three. The score alone makes the film worth watching.

lasttimeisaw This 1970s Italian political drama opens with a compelling murder live show, a dapper man, Volonté (the head of homicide squad) artfully kills his erotic mistress (Bolken) with a sharp blade, and what's befuddling the viewers is after that, Volonté intentionally leaves many traces which could be implicated to him at the scene of the crime, all the more a face-to-face encounter with a witness when he leaves the building. Naturally, one has to divine his motivation of his deviant contrivances, but the film doesn't opt to give a straightforward answer to the illogicality, instead it unwinds itself into a sociological tirade aiming at the blazon compliance of the ruling power echelon, Volonté has been promoted to a more authoritarian post, politics-oriented, and the cover-up process degrades the whole investigation into a farce, lushly recorded by the agile camera. Arguably, this is Elio Petri's most famous film, an Oscar's BEST FOREIGN LANGUAGE FILM crowner, and won him 2 awards in CANNES that year, Petri may not occupy an international cachet so high as his Italian peers, but the film can potently justify his talent, it is an authentic gas, wonderfully designed camera-work with a great architectonic predilection, astute sense of unpicking the tacit phone-interception dirty business, a twitchy sensibility towards the rotten authorities, and upbraids an undeniable self-awareness of being politically-biased.Volonté is tailor-made for the leading role, a typical male chauvinist, over-cocksure by appearance while underneath he is a man haunted by his impotence and jealousy (Bolken has mentioned a few times he is only a child which effectively irritates him), although ambiguous about the raison d'être of his act, Volonté is confident, menacing and impressive out of his common Spaghetti image. Bolken is billed as the co-lead, but mostly appears in flashback and the film has curtailed her character to a sexy trophy, a power-worshipper and a dispensable pawn whose stupidity overshadows her own demise, nevertheless she is a stunner in all her shots. The standout of the all-male supporting cast is Salvo Randone as an innocent plumber, who caves in poignantly in front of power, a bona-fide scene stealer. Last but not the least is Ennio Morricone's score, the repeated motif has a synthesized rhythm, catchy and indelible, throughout the film, it renders the film a touch of ridicule and never leave any chance for the audiences to be bored by the doctrinal tone the film unintentionally betrays.

FritzGerlich I first saw this movie in December 1969 in New York. Apparently it did not open in LA before the year ended and, as a consequence, won best foreign film for 1970 (Z won for 1969). In the 1990's sometime IFC aired the film and I was lucky enough to tape it and then transfer it to DVD.During the years following seeing the film, I would recommend the film to all my friends. What struck me when I had the chance to view it again was how well I had remembered the movie, every scene. Few, if any, movies ever made such a lasting impression from my first viewing and it still has that effect.Besides the great script and direction, what made it complete was one of the finest performances by an actor I've ever seen. It is up there with the greatest work of such as Olivier, O'Toole, Depardieu and Mastroianni, to name a few whose work was staggering.As to its unavailability, maybe someone should rattle IFC's cage asking them to air it again or maybe get TCM to air it.

FieCrier When the movie starts, a man meets with his lover, and while they begin to have sex, he slits her throat. After washing in the bathroom, he's careful to leave his foot and fingerprints in conspicuous places, and places a thread from his tie under his victim's fingernails.We then learn that he is the chief of homicide, who's been promoted to a job in political intelligence. The questions remain, why did he murder her, and why did he leave clues implicating himself?Through flashbacks, we get some idea of what his relationship with the woman was. We also see that some other people become suspects. However, he is in charge of the investigation, and periodically presents even more evidence pointing to himself.An unusual story. I'm not sure I understood the ending. The video I watched was dubbed in English, and subtitled in Dutch. Perhaps if there is a release of a copy in Italian with new English subtitles, it will be possible to understand the story better.