The Mad Dog Killer (1977)

best movie i've ever seen.

While it doesn't offer any answers, it both thrills and makes you think.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Grizzled cop Richard Harrison faces off against psychotic escaped con Helmut Berger in this tense and nasty action thriller.BEAST WITH A GUN certainly feels far more amateurish than anything put out at the time by Umberto Lenzi, Enzo Castellari, or Sergio Martino at the time. Half the movie is out of focus, the 180 degree line gets crossed left and right, certain scenes drag on way too long, and the final fight involves the two most obvious stunt doubles this side of Star Trek. There's so many strange goofs in the first scene alone that MST3K certainly could have had a field day. Unfortunately I doubt that this could ever have run on TV owing to the heavy load of mean- spirited violence and semi-consensual sex/rape scenes involving Berger and Marisa Mell.Marisa Mell, a far way off from DANGER DIABOLIK and starting to look every bit like the wreck she was starting to become off-screen, plays victim to Nanni Vitale's evil schemes. This unfortunately mirrored real life as Berger and Mell did supposedly have a drug- addled fling which took both their lives even further into a spiral. I can't say Berger, who's creepy, somewhat childish perversity was always his biggest strength as an actor, fares much better with his pretty face starting to puff up. Here, a 37-year-old Mell and a 33- year-old Berger both look about like Peter O'Toole did around when he was 34 or so in NIGHT OF THE GENERALS... as though the heavy helpings of partying, drinking, drugs, and general excess were starting to take their toll even at a relatively young age.The real interesting story here has more to do with the behind the scenes drama. As a movie, BEAST WITH A GUN could hardly be more routine with no real narrative surprises and not really enough action to drum up enough excitement. Richard Harrison gets unfortunately totally wasted as a nothing character while mostly the movie revolves around Berger and his antics, unfortunately with the edge taken off by his banal and clichéd dialog. In my mind, the most memorable (and comical) moment comes late in the film with the shooting of the two slow motion police officers. All the shots of the cops are in slow motion while Berger with his hostages and henchmen waiting for them are in normal speed. They trade plenty of annoyed glances while the cops SLOWLY advance on them, giving the impression that they're wondering what's taking so long.I must admit that it's all given a certain scuzzy charm and character by the soundtrack, which is B-movie gold in its simplicity. Good luck ever getting that one out of your head..

I picked up "Beast With A Gun" based on its reputation, hoping for a gritty exploitation thriller, and got something OK but not especially impressive or memorable. Problem number one is the casting: Helmut Berger is obviously a talented actor, but his male model looks, hair, and stylish clothes undercut the menace and aggression the movie tries to imbue in the character. He's just too sleek, slick, and polished to be credible as a tougher-than-nails psychopath (although some of his cohorts look somewhat more convincing). Also, whoever dubbed him in the English-with-no-subtitles version I saw didn't have much vocal range or dynamics - every line basically came out the same way, which ended up being boring. Problem number two is the cheapness of some of the action scenes. For instance, when the Beast breaks out of prison with 4 of his gang members, they are pursued by ONE (1) subcompact car with Richard Harrison at the wheel instead of the pack of police vehicles such an event would justify. Hal Needham could have made that chase exciting, even with these constraints, but this one is somewhat underwhelming.Problem number three is that the essence of the movie is supposed to be an epic conflict between Berger and his Nemesis (Richard Harrison), but the police are singularly ineffective and unimpressive in this movie. It's as if Berger's character is unstoppable only because the plot requires it. The best feature of the movie is definitely the soundtrack, which has an insistent, brutal quality that sticks in the mind long after the movie is over and adds heft and definition to some scenes that really needed the boost.If I were in a different mood (or a different stage of my movie watching life), I might have enjoyed this more. I am sure its fans can argue for a direct, spare, straight to the point screenplay that offers what the title promises with no filler or frills. And I wouldn't argue with them. So - not a bad film at all - just too simple minded and no fun to watch. Your mileage may vary.

When a friend of mine recently passed over two Giallo films to me,I was surprised to find that they had also passed me a third film,which I had heard nothing about.After having asked my friend about what this film is,I was thrilled to find out that it was an Italian Crime film.During my viewing of the film,I became extremely intrigued by the surprisingly different execution of the films story,which makes it really stand out from some of the other Italian Crime films that I have seen.The plot:With having been given a twenty three year prison sentience for murder, (after his girlfriend and some of his "friends" have given valuable evidence to the police,which they used to prosecute him) Nanni Vitale decides that he does not want to spend the next twenty three years of his life in prison.So when Vitale and three other prisoners see an opportunity to escape,they instantly jump at the chance.This leads Vitale and the gang grabbing a prison officer,and using him as a hostage.Although some of the other officers try to grab Vitale as him and his gang drive away,they,and the hostage all end up getting left for dead.After having (for now) gotten away Scott-free,Nanni Vitale becomes extremely determined that he and his gang our going to show all the "rats" that betrayed him,that they will never be able to get away from him,until they are dead.This leads to Vitale getting hold of one of his former "best friends".When he gets a hold on his friend and his friends girlfriend,Vitale orders the rest of the gang to "stay back" so he can have all the "fun" with them on his own.Whilst Vitale beats the life out of the rat (who ends up getting an acid-type substance poured on him),he decides that killing the girlfriend,is a far too "soft" option,so he instead brutally rapes her,whilst her battered boyfriend has to watch.Mean while,Commisionner Giulio Santini becomes very nervous about Vitale striking back at the people that put him in prison,especially due to the fact that Santinis dad was the judge that sentenced Nanni Vitale to jail.With hardly any leads,Santini struggles to find out about any of Vitales plans.Suddenly a girl walks into the police station,who tells Santini that she is being kept as a "helper"/hostage for Vitale to help him succeed in getting a huge amount of cash,out of her very wealthy dad.Realising that time is of the essence,Santini feels that he has to make a move for Vitale as soon as he comes out to commit the crime,but with Nanni Vitale having his wits (and guns) on him,it is going to be a far from easy aeriest.. View on the film:For the screenplay to the film,writer/directer Sergio Grieco makes the film firmly stand out in its genre,by giving the movie a completely different structure to most of the Italian Crime film that I have watched before.Unlike the other films,which spend the whole of there running time following the criminals and focusing on their activates,Grieco instead divides the film into two,and gives an equal amount of time showing the stories of the criminals and the cops,which really help to increase the tension of the film,due to Sergio showing us Comisionner Giulio Santinis increased desperation in nabbing gang leader Nanni Vitale.Happily,along with the entertaining plot,Grieco is also able to make this film stand out by injecting a strong "Grindhouse" element into the action and violence of the picture.And although some of the slow-motion and Foley sound effects in the film,slightly take you "out" of the movie,due to them seeming to have been pasted on from a very rusty old Kung-Fu film!,the blending of the genres (mostly) works very well,with the ending scenes of Vitale holding a gun and,later on a knife to the chest and throat of a woman,whose father ruined Vitale life by giving him up to the police,being very gripping and extremely intense.Whilst Sergio Grieco does deserve praise for the movie,the film would not have been half as fun without the terrific performances of Helmut Berger and Richard Harrison.As Vitale,Berger gives an excellent enchanting performance,with Helmut showing that due to Vitale feeling completely betrayed by all of his close friends,he now feels that the only way that he can get back at them is to ruin their lives,so they can feel (just before he kills them) as much hopelessness as they have given to Vitale.Although his character is no where near as ruthless as Berger,Harrison is still able to give a fun performance as Santini,whose macho side really comes out as he gets closer,and closer to getting his hands round the neck of Nanni Vitale. Final view on the film:A fantastic Italian Crime/Grindhouse hybrid,that stands out in the Italian Crime film genre due to a very intriguing screenplay,an insanely catchy score and excellent performances from Berger and Harrison.

Sadistic no-count killer Nanni Vitali (excellently essayed with lip-smacking wicked relish by Helmut Berger) and three equally brutish hoodlums escape from prison. The foul foursome embark on a savage spree of rape, murder and robbery. Vitali even abducts and defiles frightened hapless lass Giuliana Caroli (a solid turn by the strikingly gorgeous Marisa Mell). Rugged police Inspector Giulio Santini (a properly steely performance by Richard Harrison) becomes determined to bag the despicable Vitali. Writer/director Sergio Grieco keeps the movie rattling along at a constant swift pace, stages the stirring action scenes with considerable rip-snorting brio (the occasional use of strenuous slow motion is especially effective and impressive), and does an expert job of creating and sustaining a harsh, gritty, resolutely tough-minded and nasty-hearted tone. Vittorio Bernini's crisp, handsome widescreen cinematography gives the picture an attractive glossy look. Umberto Smaila's funky, throbbing score likewise hits the groovy spot. Best of all, this extremely hard-edged winner certainly doesn't skimp on the excessive full-bore profanity, tasty female nudity, raunchy sex, and rough, unflinching, no-holds-barred ferocious violence. A satisfyingly sick and vicious little beaut.