High Crime is an early 1970s Poliziottesco/crime action film focusing on drug smuggling.  It features a great rage exploding-to-emotional performance from lead Franco Nero, a good shifting pace, some great/ tense action set-ups, and creative shot use. Here from Blue Underground is a three-disc release of the film- taking in a UHD, Blu-Ray, and CD. With a new 4k scan, three commentary tracks, a good selection of new/ archive extras, and the film's soundtrack.

High Crime (La Polizia Incrimina La Legge Assolveis, The Marseilles Connection) is a joint Italian/ Spanish/French production from 1973. It was directed by Rome-born Enzo G. Castellari- who has thirty-three features to his name. These move from spaghetti western Kill Them All and Come Back Alone(1968), onto slapstick comedy The Loves and Times of Scaramouche( 1976), through to a few Sharksploitation films like The Shark Hunter(1976) & The Last Shark(1981), and a fair more post-apocalyptic thrillers/ action films such as 1990: The Bronx Warriors (1982) and Escape From The Bronx(1983).

After drifting slowly through a tunnel opening credits. The film picks up pace quickly- moving from a tense and sweaty running through the city chase. Onto screeching breaks ‘n’ whistling tyres car chase- moving from the city, onto the motorway, through country roads.  

Sitting in the back seat of the pursuing cop car is Vice-Commissioner Belli (Nero)- and when he catches his suspect, they take him back to the city police station. As Belli steps out of the car a huge explosion occurs killing all inside the car, along with a little girl who was standing nearby…this is all within the first ten minutes of the film.

As things unfold we meet Belli’s cigar-sucking boss Aldo Scavino( James Whitmore), seemingly gone straight ex-drug smuggler now flower-tending Cafiero(Fernando Rey), Belli’s newish girlfriend Mirella (Delia Boccardo), and his pre-teen/ back from private school daughter.

As the film goes on, we get some excellent /memorable shots/ action scene setups. There’s a chase, hit ‘n’ run over by a motorbike on a golf course. Running up through and under boats chase which resolves with a nasty large hook-bound death, a double gunshot death through fancy glass doors, a multi-angle and moody street gun down, a perfectly shot sundown with characters interacting perfectly within the frame, and much more.

Nero truly is on top form here- shifting between snappy/ witty responses, hand slapping and growing rage, to all-out hair floppy/ sweaty browed/red-faced ragging, back down to tearful and emotionally broken. The surrounding cast is also good/ well-placed.

High Crime is both a top draw example of the Poliziottesco, as well as an excellent Nero film- balancing a pacy story unfold, memorable scenes/ surprises, a great taut score, and an all-around excellent/ thrilling filmmaking.

Moving onto this three-disc set, and as we’ve come to expect from a Blue Underground release- they truly give you the definitive/ complete edition of the film.  First off, the new 4k scan is truly a thing of beauty- with wonderful definition and clarity throughout, even in the shadowy/ darker moments.

Extra wise we get three commentary tracks- I’m not sure if all of these are new, but the one I listened to was. So, the first one is with co-writer/director Enzo G. Castellari, the second is with Franco Nero and filmmaker Mike Malloy, and the third and final one is a three-way with genre experts/ historians Troy Howarth, Nathaniel Thompson and Eugenio Ercolani. I played the last of these, and as you’d expect with a track from these three- it’s a wonderfully researched, in-depth, and informative affair. They move from talking about Genoa- the main city the film is set in being one of the lesser film-used Italian cities.  We find out this was the first of many Castellari films Franco started in- although the director had to hassle him for weeks, as initially, he wasn’t interested- feeling he had gone passed doing this type of genre film. They point out great cues in the soundtrack- going on to talk about how this score was very much of a game-changer and went on to be mimicked in later Poliziottesco. We find out the filming was started on the 15^th of February 1973- with early showings by August of that year- so a quick turnaround. They point out the director’s cameo in the film, as well as other notable figures- with of course brief bios. They discuss the differences between Poliziottesco and Giallo, and talk about Franco's performance in the film- declaring it good, but maybe a bit too tough guy quip heavy in places. Later on, they point out great stunt moments, discuss the supporting cast, and much more. A must-play track!.

Other extras wise we have the following-  all/ if not most are new. The Genoa Connection( 25.23). Interviews with Enzo G. Castellari and Franco Nero. From Dust To Asphalt (28. 17) Interview with Enzo G. Castellari. Hard Stunts For High Crimes ( 19.08) Interview with actor/stuntman Massimo Vanni. Framing Crime (20.33) Interview with camera operator Roberto Girometti. The Sound Of Onions (22.36) Interview with composers Guido and Maurizio De Angelis. The Connection Connection (12.53) featurette from EUROCRIME! director Mike Malloy. Lastly, we have an alternate ending (2.30), a theatrical trailer, and a poster & still gallery.

Moving onto the third/ final disc in the set, this is the CD taking in the twenty-track soundtrack from Guido and Maurizio De Angelis. It opens with a new bonus track, which features the two composers and director talking over one of the film's main key/ cues. Getting into the soundtrack itself, it is largely a fairly upbeat affair- utilising largely guitars, flute, and often quite groovy keys. We move from the urgent clean guitar, moody bass tones, bounding percussion, and flute lines of “The Life Of A Policeman”. Onto “Gangster Story” which opens with brooding key climbs and eerier flute warbles- before taking off into a grooved-out organ & guitar jam. Though to boogie-woogie keys, blues touched guitar tone, and strum ‘n’ bang percussion of “Rock At The Boat”. Sure, we do get a few variations on themes, as well as similar sounding cues- but there are some great moments on display here, and you can clearly hear why it was such a game-changer.

If you’ve yet to be introduced to the Poliziottesco genre, this release is a perfect introduction, as the film is a top-draw example of the form. With the set being truly stuffed with worthy/interesting extras.