Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great. 该片(🌟)(piàn )故事取材于真人真事(🚟)。这一故(📝)(gù )事曾(🌁)被(bèi )法(🐋)国两(liǎng )位电影者先后采用过(🎤)。一是(shì(🕡) )青(📩)(qīng )年(🤸)导(dǎo )演(yǎn )克里(lǐ )斯纳·(😖)李宾斯(🕔)卡于1974年(🐦)拍(pāi )过影片(piàn )《我，比埃尔·李(🛰)维尔》，一(⤴)是雷(lé(📙)i )纳·阿(😅)(ā )里(lǐ )奥1976年(nián )拍成的(de )本(🚗)片。1935年(🙁)，在(🚛)法(fǎ )国南部(bù )的诺(nuò )曼(màn )地(🍟)，发生了(👙)一场异(🐟)常轰动(🏚)的谋杀案(àn )。青年(nián )农民比(bǐ(🗞) )埃(🍣)尔·(💭)李维尔先后杀死(sǐ )了他(🆓)(tā )的(de )母(🗺)亲(qīn )，姊(🍹)姊和弟(🔮)弟。如此残忍无道(dào )的谋杀(shā(🐳) )自己的(👬)(de )亲(👽)人，到(🤖)底是为什么？这引(yǐn )起(🉐)(qǐ )了当(📰)(dāng )局(jú(🐐) )的特(tè )大关注，派遣警方进行(📬)(háng )调查(🥦)和(hé )研(💸)究。对比(❇)埃尔·李维尔进行耐心(⚓)(xīn )的(⭐)交(🌽)谈(tán )。根据(jù )他在监(jiān )中的陈(🧓)述，他杀(🥓)(shā )死三(😒)人(rén )的(🐆)原(yuán )因(yīn )是母亲和姊姊仇恨(🍧)她(🕺)的父(⛓)亲，而他(tā )本人却(què )十分(🥔)爱(ài )他(🎏)。至于杀(🍵)死其弟(🔍)弟的(de )原因(yīn )，是“免得父亲感到(🚩)遗憾。”事(😧)发(🌋)被(bè(⏮)i )捕后，法医认(rèn )为他精神(🐲)有病。李(🎖)维尔被(🙎)判(pàn )无(wú )期徒(tú )刑(xíng )。但(dàn )是(👶)他在狱(🔲)中自杀(🗻)身亡。留(🐙)下了(le )自己的(de )遗书，遗书的(🍄)开头(🤦)是(👁)这样写(xiě )道的：“我，比埃尔(ě(⛲)r )·李维(👟)尔……(🏁)” IMDB:3.8/10 (85 votes) Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society. 老夫(🔓)(fū )子（王(wáng )沙）一觉醒来，见(🔜)已(⛳)是日(🎛)上三竿，急忙催(cuī )醒仍熟(🧒)(shú )睡的(🎥)大蕃薯(💘)（矮冬(🐝)瓜）。二(èr )人(rén )忙乱(luàn )一番，便(👺)去做晨(🛹)运(🚤)。 　　(⌛)在树(shù )林旷地(dì )中，老(lǎ(🔬)o )夫子打(🤰)出少林(🤨)拳招式，挥拳(quán )踢(tī )腿之(zhī )际(👐)(jì )，裤(kù(🤛) )裆突然(📡)裂开，情(✨)状至为(wéi )狼狈。幸而大(dà(⏱) )蕃薯(🚯)早(🚘)就为他备有另一条裤(kù )子，让(🕛)(ràng )他(tā(🐀) )换上(shà(🚎)ng )，始未(wè(🏺)i )贻笑大方。时有(yǒu )一漂亮(liàng )女(🎒)郎(🐻)(láng )在(🖇)(zài )附近做柔软体操，一飞(🛰)仔对之(🏫)蠢蠢(chǔ(➕)n )欲动。老(🗞)夫子(zǐ )立即上前负起「护花(📺)」之责(🌭)(zé(✡) )，但反(🍙)(fǎn )被飞仔打得天旋地转(🔍)。幸好该(🍳)(gāi )女郎(🌫)功(gōng )夫不凡(fán )，将飞仔击退。 　(🎈)　老夫(💽)子(zǐ )坐(🌚)(zuò )在公(🏨)(gōng )园(yuán )长椅(yǐ )上休息，无(🍂)意间(🥐)坐(😡)於旁(páng )一位文(wén )弱书生(shēng )，居(♒)然亮刀(👇)向他行(🐠)劫。老夫(🍽)(fū )子乃交(jiāo )出(chū )一张(zhāng )五百(⛳)元(🦁)(yuán )大(🔚)钞，书生接得(dé )钱即飞(fē(🌎)i )步离(lí(🏺) )去(qù )。老(🎁)夫子见(❕)计得酬，开怀大笑，盖(gài )那是伪(🌷)(wěi )钞也(🙁)！岂(🈺)知，未(🤐)几又有一名歹徒前(qián )来(🛢)(lái )行劫(🎹)(jié )，老夫(🆙)子只得把身上的真钞交(jiāo )出(🥈)，好(hǎo )不(🚳)懊丧(sà(🥝)ng )！ 　　老(🌉)夫子前往公司上班(bān )，由(🎁)於(yú(🎆) )很(👓)(hěn )多人(rén )抢著搭巴士，老夫子(✝)时(shí )而(📿)帮助(zhù(⏯) )妇孺，时(🍛)而又被壮汉挤开，弄得来(lái )过(⤴)好(✋)几(jǐ(🏽) )辆巴士(shì )都搭不(bú )上，反而闹出(📼)连场笑(🖨)话(huà )。迨(🔠)(dài )去(qù )到赵氏洋行时，已迟到(💥)十五分(💓)钟(🍈)，遭赵(👽)经(jīng )理严词(cí )指责。 　　(🏘)赵经理(📺)垂涎职(🈴)员(yuán )陈(chén )小姐(jiě )（李菁）的(〽)姿色，特(🥣)将她叫(🍯)进(jìn )经(✒)理室(shì )去，色(sè )迷迷加上(📙)一番(🚘)甜(🍞)言蜜语。老(lǎo )夫子却(què )偏(piān )偏(🏴)藉(jiè )故(😨)作梗。赵(🍇)经理怒(👮)不可(kě )遏，声(shēng )称要开(kāi )除老(🆖)夫(🕑)子。老(🎉)夫(🥩)子不惧淫威(wēi )，谓他(tā )昨晚曾(🛐)(céng )目睹(🏿)赵(zhào )偕(🐹)一女子进某酒店，当(dāng )向赵(zhà(🛐)o )妻(qī )报(🕤)告(🐝)。争持(💍)间，赵妻来到，赵经理(lǐ )当(🔦)即换(huà(🚛)n )上另一(🚛)(yī )副面孔，对妻子谓老夫子如(🔺)(rú )何(hé(🏷) )解救(jiù(🐖) )了他之(📜)遇劫之类，且声言除给(gě(🏺)i )老夫(🚊)子(🥣)(zǐ )加薪五(wǔ )百大元外，还升他(✝)当主任(👵)，老夫子(🥚)(zǐ )闻(wé(📍)n )言好(hǎo )不高兴。怎知赵妻一走(♋)(zǒ(😵)u )，赵便(😫)(bià(🖌)n )向老夫(fū )子施以拳脚，直把他(🕒)打得遍(📡)(biàn )体鳞(🤷)伤(shāng )，并将(jiāng )他开除(chú )。 　　老(🍰)夫子前(🍉)往(🎚)大蕃(⚾)(fān )薯跌(diē )打(dǎ )医馆求医(♊)。大蕃薯(🐱)专医奇(💮)难杂症，医术果(guǒ )也了得(dé )。老(🖌)夫子身(🆕)上之伤(🌥)痛，当然(🛳)(rán )很(hěn )轻易(yì )便被他治(💲)好。大(👿)蕃(📕)薯且对老夫(fū )子之被(bèi )开除(👵)安(ān )慰(💴)一番，约(🚬)他同去(👇)跟秦先生(shēng )（刘陆(lù )华(huá )）(💠)饮(🥁)(yǐn )下(🐈)午(💀)茶聊天以解不快。 　　秦(qín )先(⛵)生年(niá(🎡)n )近三十(🛌)，虽对林小姐（庄莉(lì )）甚是(📫)(shì )爱慕(🥕)，但(🌎)始终(🏥)(zhōng )无法追到手。大蕃薯又(🔞)(yòu )鉴於(🎀)(yú )陈(ché(🚅)n )小姐对老夫子的印象甚佳，乃(📨)鼓励(lì(🏼) )他们二(👁)(èr )人积(🌶)极(jí )向意中人展开追求(🥝)攻势(🍇)，且(🍶)(qiě )认(rèn )为追(zhuī )女子需讲究策(✳)略，有的(🎷)放矢，乃(⤵)特授(shò(🍍)u )以「锦(jǐn )囊妙计」。秦先生与(💙)老(📠)夫子(✉)(zǐ(⌚) )俱依「计(jì )」去(qù )做，不料同(🕹)告碰壁(🏼)，盖(gài )彼(👱)此之(zhī )「锦囊(náng )」调换了也(🛰)！後查出(🍆)失(🔅)败症(👸)(zhèng )结，重(chóng )整旗鼓(gǔ )，秦先(🤱)(xiān )生与(👺)老夫子(😋)遂得以跟各(gè )自的(de )意(yì )中人(🛏)把臂同(🌎)游. 　　(🔳)一日，老(✡)夫子与(yǔ )陈小姐(jiě )在树(😭)下(xià(🐏) )喁(📭)喁谈心，树上突然跳下一(yī )位(🏋)(wèi )又胖(🐮)(pàng )又丑(🖼)的女子(🌨)来，一把将老夫子(zǐ )搂住。原来(🚗)，那(😡)是老(🖕)夫(🔷)子的表妹，一直痴(chī )缠老夫(fū(👆) )子(zǐ )，老(💁)(lǎo )夫子(🦉)对她非常讨厌。现(xiàn )她居然(rá(⛓)n )搂住老(🍜)(lǎ(🔶)o )夫子(⛏)，状似亲热，陈小姐误(wù )以(⚓)为老(lǎ(🈺)o )夫子另(🐳)(lìng )有心上(shàng )人，怒而离去，声称(🎨)与(yǔ )老(🛳)夫(fū )子(❓)(zǐ )的关(⚓)系一刀两断。 　　老夫子(🚂)失去(🎿)(qù(🚇) )陈小姐(jiě )，闷闷(mèn )不乐，大蕃薯(♐)与秦先(⏩)生约他(🚼)(tā )一(yī(💌) )同去(qù )钓(diào )鱼解闷。没想到赵(🧟)经(🗺)理也(⏯)到(🎗)(dào )湖边垂(chuí )钓，却(què )遇一帮飞(🛀)仔打劫(👪)，老夫子(🐓)奋(fèn )起营救(jiù )，赵乃(nǎi )有惊无(🚳)险。因此(📑)，赵(🏳)在(zà(🔢)i )感激之(zhī )中，叫(jiào )老夫子(🎹)重新到(😒)公司去(👕)上班，老夫子(zǐ )喜不自(zì )胜。而(📙)(ér )陈小(🔂)姐在老(🦍)夫子的(😥)「愿(yuàn )以一(yī )死(sǐ )明志」下(🏑)，也(✡)恢复了跟老夫子相爱(ài )至笃(📴)。 　　老(🏚)(lǎo )夫子(💝)与陈小(🐔)姐结婚之日到了(le )，秦先(xiān )生(shē(🛷)ng )当伴郎(✴)，林(🈳)小姐作伴娘，大(dà )蕃薯是(shì )证(🗼)婚人(ré(🐒)n )，一齐乘(📤)著一架大花车去接(jiē )新娘，不(🤧)(bú )料一(🔍)(yī )帮歹(🐰)徒居然以奇谋妙计(jì )劫新娘(niá(🎗)ng )车，因(yī(😼)n )而引起一波三折，险象纷呈。最(🧦)後(hòu )老(👉)夫子(zǐ(🤠) )和大番(🎏)(fān )薯开溜了。 TV第54话再编集(jí )版(🗃)。 IMDB:3.8/10 (85 votes) S02 E09 This extremely obscure Italian production tells the story of a modern day neo-Nazi youth gang that meets in a place decorated with swasticas and a poster of the "Fü(🐤)hrer". The members of this gang are all bored teenagers from rich families. One of the gang prefers playing pin pall to getting a girlfriend, because playing pin ball literally gets him off. The leader of the gang indulges in violent sexual fantasies, which ultimately leads to rape and murder. This inspires a teen gang from the streets, whose members are poor kids from the ghetto. The story is quite interesting, especially the aspect of the impact the neo-Nazi gang has on the street gang in the end, although the gangs as such have nothing in common. Unfortunately, the film becomes extremely slow paced after a good first 20 minutes, and it never really returns to a faster pace. The interesting cast, unknown faces even for connoisseurs of obscure Italian films of the Seventies, does a good job throughout, which makes it even more sad that the movie as a whole is merely a disappointment. All in all, "I Ragazzi Della Roma Violenta" is a movie that could have been far better than it eventually turned out to be. However, it's remarkable that the film precedes some of Larry Clark's issues in his films "Kids" and "Bully" for about two decades.