I came to the Enzo G. Castellari filmography late in my life. The same goes for Franco Nero. The funniest part is that I knew him from Camelot and not much more. It was only in my twenties I found these two much to my surprise and delight. Respectively doing work apart and together. Castellari’s films always, like Nero, were surprisingly visually astute ventures into a genre that go all in on whatever world they are in (see my favorite Castellari film 1999: The Bronx Warrior for a prime example of this). High Crime isn’t just a visualist action picture but a complex crime drama thriller that cares as much about story and character as it does action and bombast.
The story is very a-b-c basic, with a cop taking on the almost overwhelming forces of corruption and violence that drug dealers bring to the port town of Genova Italy. Attempting to balance work and personal life is Vice-Commissioner Belli (Nero) who at every turn is frustratingly shown as impotent against the drug war. He is constantly losing at home and at the office. However as these drug dealers continue to get the upper hand, often resulting in the death of one of his fellow officers, Belli is pushed closer and closer to the edge of the cliff. In true Castellari fashion when Belli’s life finally does implode (or explode), it leaves High Crime and its protagonist to go hard into violence.
Castellari’s film is one of both overheated emotion and restrained storytelling. The film does go hard into action but not until it really puts its character through hell. The director always finds a moment to relish in the over-the-top violence in slow motion – where appropriate. There is a car explosion that raises eyebrows and would never pass censors nowadays or some of the executions that are not graphic but implied hair-raising (see the Golf Course execution). Though one will have to wait for the kind of slow-motion action mania you’ll have to wait until the finale which Castellari delivers as only Castellari does.
High Crime is a top-tier poliziotteschi film because of just how adroitly the film tells its story and one of the best Castellari directed.
The Transfer
The all-new 2024 Dolby Vision HDR 4K master is nothing short of spectacular. Blue Underground has created what is the definitive edition of the film. The 4K Dolby Vision encoded transfer retains the grain structure and beautiful color production. The transfer looks like a newly struct 35mm archival print. The way that the film has that photochemical feel but still retains its sharpness is a marvel that will have fans of this film who first viewed it on muddy VHS copies in disbelief.
The Extras
They include the following;
Audio Commentary #1 with Co-Writer/Director Enzo G. Castellari
Audio Commentary #2 with Star Franco Nero and Filmmaker Mike Malloy
Audio Commentary #3 with Film Historians Troy Howarth, Nathaniel Thompson and Eugenio Ercolani
The Genoa Connection – Interviews with Director Enzo G. Castellari and Star Franco Nero
From Dust To Asphalt – Interview with Director Enzo G. Castellari
Hard Stunts For High Crimes – Interview with Actor/Stuntman Massimo Vanni
Framing Crime – Interview with Camera Operator Roberto Girometti
The Sound Of Onions – Interview with Composers Guido and Maurizio De Angelis
The Connection Connection – Featurette by EUROCRIME! Director Mike Malloy
Alternate Ending
Theatrical Trailer
Poster & Still Gallery
HIGH CRIME Original Motion Picture Soundtrack by Guido and Maurizio De Angelis (with EXCLUSIVE Bonus Track)
NOTE: The Commentary Tracks, Trailer, and Alternate Ending are the only special features that appear on the 4K UHD Disc the rest appear on the Blu-Ray disc.
Audio Commentary #1 with Co-Writer/Director Enzo G. Castellari, and director Andre Castellari, hosted by Bill Lustig begins with introductions and how he came up with the opening shot/title sequence. Some of the other details include the inspiration that Castellari took from Bullitt and The French Connection; how the film came together; why they began the film with a chase; the reasons why Nero (an infamous car driver) did not drive in the opening sequence; the cooperation Castellari got from the city, police and criminals during the shooting of the film; working with James Whitmore – including an account of personal anecdotes; working with Fernando Rey – including some personal anecdotes; working with Franco Nero – which this was his first time, the difficulty in getting the script and his wild solution to getting Nero the script, and eventually casting; Enzo’s cameo and why he did it; shooting live sound instead of sync sound – the reasons why they did so; the difficulty in scheduling James Whitmore and how much time they had with him; a larger discussion of Italian films casting Known American Actors in roles – the reasons why they did this; Lustig’s favorite moment of casting a “hero” from his childhood and Castellari similar experience; the iconic game (you know if you’ve seen the film) that plays a part during a specific scene; the reasons why Enzo casted his daughter as Nero’s daughter – Nero’s testing her and her hilarious response; the work of camera operator Giovanni Bergamini and cinematographer Alejandro Ulloa; working with Golan and Globus on Sinbad and that experince; a larger discussion throughout about the action scenes and how they’re directed, performed, and edited; and much more. Lustig hosts a lively conversation and looks back at making the film. The Castellari’s bring an informative and personal touch to the commentary track making it a must listen.
Audio Commentary #2 with Star Franco Nero and Filmmaker Mike Malloy hosted by Bill Lustig opens with introductions and begins with how he met Enzo Castellari and how he got the script. Some of the other details include how they created and why they created the opening chase scene; how they were the first to film Genova – and how they, Nero and Castellari, turned it into a film town with their collaborations; the car stunt work by Remy Julianne – including a larger discussion of Nero doing his own car stunt work; Nero’s love of film music – and a larger discussion of the music here; his word on the Franco Nero clones of the era that look roles that he turned down; a very emotional discussion of the appearance of his step-daughter Natasha Richardson; working with James Whitmore – including some great anecdotes throughout the track; the casting of Fernando Rey, and working with him as well – including some great anecdotes throughout the track; a discussion about the collaboration with producer Edmondo Amati; a story about Quentin Tarantino and his knowledge about Nero’s film – including QT saying all the lines from High Crimes; a side conversation about his role in Django Unchained and how that occurred; a great conversation about what a “script supervisor” does on Italian films; a larger discussion throughout about the action work, which appears to be very dangerous, that Nero did in the action scenes; and much more. Nero is a great speaker and takes so many wonderful side tangents about his work outside of this film. Lustig and Malloy give huge assists with adding to the conversation and giving anecdotes from the production and more.
Audio Commentary #3 with Film Historians Troy Howarth, Nathaniel Thompson, and Eugenio Ercolani begins with all of their bonafides and the opening moments of the film. Some of the details include the impressive reputation and lack of release in the US; a discussion of how Nero changed his look for the film – which was Nero’s idea; the rise of the Nero Clones like Maurizio Merli; the iconic soundtrack that was reused multiple times for other films; the work of James Whitmore – and his lack of appearing in many Italian genre films; the production schedule – and how quickly the film was put together from production to first test screening (which was six months); the influence 60s and 70s cop films from the US had on Italy and the rise of the poliziotteschi genre – how they differed in Italy than the US and how they varied between the various directors and how unique Castellari’s point of view; their thoughts on the performance of Franco Nero; the work of Franco Nero – including bits of “business” that the actor does, which leads to a larger discussion of actor’s doing “business” in other Italy genre films; a larger discussion of the various cast and crew that worked on the film – including other films they worked on; a larger discussion throughout of the various locations used in Genova Italy; a discussion of the multiple versions of the film and the multiple endings; and much more. The trio provides an entertaining and informative track about the film and the poliziotteschi as a whole.
The Genoa Connection – Interviews with Director Enzo G. Castellari and Star Franco Nero (25:13) – in this archival interview the director and star of High Crime, filmed separately, discuss their work in the poliziotteschi genre and how their first collaboration was fueled by the work in Bullitt and The French Connection. Some of the other talking points include drugs – specifically heroin – being a huge problem in the area that the film takes place but in Italy and France; the real-life murder of a police inspector at the front of his house; the casting and chasing of Franco Nero for the film – and where he was at the time as a star; the condition in which Nero would star in the film and the speedy production time; the action set pieces and the collaboration on set; and much more. Italian with English Subtitles.
From Dust To Asphalt – Interview with Director Enzo G. Castellari (28:17) – in this interview the director discusses his fascination with the cinema coming from his father who was also a director and the Western they made. Some of the other talking points include the Westerns that Castellari made – including some anecdotes from those productions; the effect that Brando’s One Eyed Jacks changed his approach to filmmaking style much to the confusion of his crew he was working with on a production; how Sam Peckinpah’s Wild Bunch also heavily influenced his style; the huge issues he had with an AD that his producers forced him to work with on HighCrimes and other films – and how he hampered the style and the kind of set that Castellari liked to keep; collaborating with the various actors on High Crime including Nero, Fernando Rey, and James Whitmore; the other poliziotteschi films he worked on after High Crime and how they came about; and much more. Italian with English Subtitles.
Hard Stunts For High Crimes – Interview with Actor/Stuntman Massimo Vanni (19:08) – in this all-new interview the Stuntman/Actor opens his love of the cinema coming from his obsession as a kid for all movies with Italian Star Giuliano Gemma (the Ringo Films) and how he would be inspired after to go to the Gym workout and attempt the various stunts. Some of the other talking points from the Actor/Stuntman include a detailed account of how he eventually got work as a Stunt performer in Italian films; how he and Castellari are tied; how he began to work with the director as both stuntman and actor; how High Crime and Street Law were his first big films as a stunt performer; a detailed account of the work he did on the films; and much more. Italian with English Subtitles.
Framing Crime – Interview with Camera Operator Roberto Girometti (20:33) – in this all-new interview the Camera Operator begins with how he got his start as a TV New Camera Operator and how his family helped him get his start in film with The Dirty Outlaws. Some of the talking points include a wild story about a bullfight in Spain during the production of The Dirty Outlaws; how he first worked with director Castellari on Johnny Hamlet; some wild stories from Years of Lead (one can do research on the civil protests during the era); how he came to be hired for High Crimes; the acting he did the in the picture – including the other films he did appear in; the work of stunt man Remy Julienne on High Crime – including a story that could have only happened during the 70s or 80s in genre film; his relationship with Nero during the era; and much more. Italian with English Subtitles.
The Sound Of Onions – Interview with Composers Guido and Maurizio De Angelis (22:36) – in this all-new interview with the composers, who were filmed together, begins with when they started in film with the soundtrack for a director Nino Manfredi called Between Miracles. Some of the other talking points include their methodology when it comes to composing and what they considered pop and classical compositions and the requirements they put their projects through; a discussion of the various directors they had worked with during their career; and much more. Italian with English Subtitles.
The Connection Connection – Featurette by EUROCRIME! Director Mike Malloy (12:53) – in this all-new interview with Malloy begins with the influences of High Crime and how High Crime was influential to other poliziotteschi films creating a circle. Taking facts, Hollywood cinema, Euro Crime lore, the actors, the films and connections to The French Connection, historical context in which they made both this and other films to show how the “connections” are made, hence the title of the interview/featurette. Using graphics, other video sources and graphics Malloy shows us how these two films The French Connection and High Crime are interconnected.
Alternate Ending (2:52) – a slightly different ending but still the copy of The French Connection ending.
Theatrical Trailer (4:17)
Poster & Still Gallery – consisting of 43 various production stills, lobby cards, home video art, poster art, and soundtrack packaging. The Gallery is controlled by using your next or back chapter stop buttons on your remote.
HIGH CRIME Original Motion Picture Soundtrack by Guido and Maurizio De Angelis (with EXCLUSIVE Bonus Track) [59:05] – in a word … cool. The soundtrack was so influential the film producers used the compositions in other Euro Crime and Poliziotteschi. The first track begins with an introduction by Guido, Maurizio, and director Enzo G. Castellari before diving into the 20-track complete soundtrack. Bravo to Blue Underground for including this added value in the limited edition set. I’ve listened to this soundtrack at least four times, while I was writing this review, and will no doubt add this to the rotation of soundtracks I listen to.
The Final Thought
Blue Underground continues to dazzle and impress with their 4K UHD upgrades to titles like High Crimes. Highest possible recommendations!!!
Director Enzo G. Castellari and Star Franco Nero go full French Connection with High Crime. The thrilling poliziotteschi comes to 4K UHD fully restored and uncut thanks to Blue Underground.
The Film
I came to the Enzo G. Castellari filmography late in my life. The same goes for Franco Nero. The funniest part is that I knew him from Camelot and not much more. It was only in my twenties I found these two much to my surprise and delight. Respectively doing work apart and together. Castellari’s films always, like Nero, were surprisingly visually astute ventures into a genre that go all in on whatever world they are in (see my favorite Castellari film 1999: The Bronx Warrior for a prime example of this). High Crime isn’t just a visualist action picture but a complex crime drama thriller that cares as much about story and character as it does action and bombast.
The story is very a-b-c basic, with a cop taking on the almost overwhelming forces of corruption and violence that drug dealers bring to the port town of Genova Italy. Attempting to balance work and personal life is Vice-Commissioner Belli (Nero) who at every turn is frustratingly shown as impotent against the drug war. He is constantly losing at home and at the office. However as these drug dealers continue to get the upper hand, often resulting in the death of one of his fellow officers, Belli is pushed closer and closer to the edge of the cliff. In true Castellari fashion when Belli’s life finally does implode (or explode), it leaves High Crime and its protagonist to go hard into violence.
Castellari’s film is one of both overheated emotion and restrained storytelling. The film does go hard into action but not until it really puts its character through hell. The director always finds a moment to relish in the over-the-top violence in slow motion – where appropriate. There is a car explosion that raises eyebrows and would never pass censors nowadays or some of the executions that are not graphic but implied hair-raising (see the Golf Course execution). Though one will have to wait for the kind of slow-motion action mania you’ll have to wait until the finale which Castellari delivers as only Castellari does.
High Crime is a top-tier poliziotteschi film because of just how adroitly the film tells its story and one of the best Castellari directed.
The Transfer
The all-new 2024 Dolby Vision HDR 4K master is nothing short of spectacular. Blue Underground has created what is the definitive edition of the film. The 4K Dolby Vision encoded transfer retains the grain structure and beautiful color production. The transfer looks like a newly struct 35mm archival print. The way that the film has that photochemical feel but still retains its sharpness is a marvel that will have fans of this film who first viewed it on muddy VHS copies in disbelief.
The Extras
They include the following;
NOTE: The Commentary Tracks, Trailer, and Alternate Ending are the only special features that appear on the 4K UHD Disc the rest appear on the Blu-Ray disc.
Audio Commentary #1 with Co-Writer/Director Enzo G. Castellari, and director Andre Castellari, hosted by Bill Lustig begins with introductions and how he came up with the opening shot/title sequence. Some of the other details include the inspiration that Castellari took from Bullitt and The French Connection; how the film came together; why they began the film with a chase; the reasons why Nero (an infamous car driver) did not drive in the opening sequence; the cooperation Castellari got from the city, police and criminals during the shooting of the film; working with James Whitmore – including an account of personal anecdotes; working with Fernando Rey – including some personal anecdotes; working with Franco Nero – which this was his first time, the difficulty in getting the script and his wild solution to getting Nero the script, and eventually casting; Enzo’s cameo and why he did it; shooting live sound instead of sync sound – the reasons why they did so; the difficulty in scheduling James Whitmore and how much time they had with him; a larger discussion of Italian films casting Known American Actors in roles – the reasons why they did this; Lustig’s favorite moment of casting a “hero” from his childhood and Castellari similar experience; the iconic game (you know if you’ve seen the film) that plays a part during a specific scene; the reasons why Enzo casted his daughter as Nero’s daughter – Nero’s testing her and her hilarious response; the work of camera operator Giovanni Bergamini and cinematographer Alejandro Ulloa; working with Golan and Globus on Sinbad and that experince; a larger discussion throughout about the action scenes and how they’re directed, performed, and edited; and much more. Lustig hosts a lively conversation and looks back at making the film. The Castellari’s bring an informative and personal touch to the commentary track making it a must listen.
Audio Commentary #2 with Star Franco Nero and Filmmaker Mike Malloy hosted by Bill Lustig opens with introductions and begins with how he met Enzo Castellari and how he got the script. Some of the other details include how they created and why they created the opening chase scene; how they were the first to film Genova – and how they, Nero and Castellari, turned it into a film town with their collaborations; the car stunt work by Remy Julianne – including a larger discussion of Nero doing his own car stunt work; Nero’s love of film music – and a larger discussion of the music here; his word on the Franco Nero clones of the era that look roles that he turned down; a very emotional discussion of the appearance of his step-daughter Natasha Richardson; working with James Whitmore – including some great anecdotes throughout the track; the casting of Fernando Rey, and working with him as well – including some great anecdotes throughout the track; a discussion about the collaboration with producer Edmondo Amati; a story about Quentin Tarantino and his knowledge about Nero’s film – including QT saying all the lines from High Crimes; a side conversation about his role in Django Unchained and how that occurred; a great conversation about what a “script supervisor” does on Italian films; a larger discussion throughout about the action work, which appears to be very dangerous, that Nero did in the action scenes; and much more. Nero is a great speaker and takes so many wonderful side tangents about his work outside of this film. Lustig and Malloy give huge assists with adding to the conversation and giving anecdotes from the production and more.
Audio Commentary #3 with Film Historians Troy Howarth, Nathaniel Thompson, and Eugenio Ercolani begins with all of their bonafides and the opening moments of the film. Some of the details include the impressive reputation and lack of release in the US; a discussion of how Nero changed his look for the film – which was Nero’s idea; the rise of the Nero Clones like Maurizio Merli; the iconic soundtrack that was reused multiple times for other films; the work of James Whitmore – and his lack of appearing in many Italian genre films; the production schedule – and how quickly the film was put together from production to first test screening (which was six months); the influence 60s and 70s cop films from the US had on Italy and the rise of the poliziotteschi genre – how they differed in Italy than the US and how they varied between the various directors and how unique Castellari’s point of view; their thoughts on the performance of Franco Nero; the work of Franco Nero – including bits of “business” that the actor does, which leads to a larger discussion of actor’s doing “business” in other Italy genre films; a larger discussion of the various cast and crew that worked on the film – including other films they worked on; a larger discussion throughout of the various locations used in Genova Italy; a discussion of the multiple versions of the film and the multiple endings; and much more. The trio provides an entertaining and informative track about the film and the poliziotteschi as a whole.
The Genoa Connection – Interviews with Director Enzo G. Castellari and Star Franco Nero (25:13) – in this archival interview the director and star of High Crime, filmed separately, discuss their work in the poliziotteschi genre and how their first collaboration was fueled by the work in Bullitt and The French Connection. Some of the other talking points include drugs – specifically heroin – being a huge problem in the area that the film takes place but in Italy and France; the real-life murder of a police inspector at the front of his house; the casting and chasing of Franco Nero for the film – and where he was at the time as a star; the condition in which Nero would star in the film and the speedy production time; the action set pieces and the collaboration on set; and much more. Italian with English Subtitles.
From Dust To Asphalt – Interview with Director Enzo G. Castellari (28:17) – in this interview the director discusses his fascination with the cinema coming from his father who was also a director and the Western they made. Some of the other talking points include the Westerns that Castellari made – including some anecdotes from those productions; the effect that Brando’s One Eyed Jacks changed his approach to filmmaking style much to the confusion of his crew he was working with on a production; how Sam Peckinpah’s Wild Bunch also heavily influenced his style; the huge issues he had with an AD that his producers forced him to work with on High Crimes and other films – and how he hampered the style and the kind of set that Castellari liked to keep; collaborating with the various actors on High Crime including Nero, Fernando Rey, and James Whitmore; the other poliziotteschi films he worked on after High Crime and how they came about; and much more. Italian with English Subtitles.
Hard Stunts For High Crimes – Interview with Actor/Stuntman Massimo Vanni (19:08) – in this all-new interview the Stuntman/Actor opens his love of the cinema coming from his obsession as a kid for all movies with Italian Star Giuliano Gemma (the Ringo Films) and how he would be inspired after to go to the Gym workout and attempt the various stunts. Some of the other talking points from the Actor/Stuntman include a detailed account of how he eventually got work as a Stunt performer in Italian films; how he and Castellari are tied; how he began to work with the director as both stuntman and actor; how High Crime and Street Law were his first big films as a stunt performer; a detailed account of the work he did on the films; and much more. Italian with English Subtitles.
Framing Crime – Interview with Camera Operator Roberto Girometti (20:33) – in this all-new interview the Camera Operator begins with how he got his start as a TV New Camera Operator and how his family helped him get his start in film with The Dirty Outlaws. Some of the talking points include a wild story about a bullfight in Spain during the production of The Dirty Outlaws; how he first worked with director Castellari on Johnny Hamlet; some wild stories from Years of Lead (one can do research on the civil protests during the era); how he came to be hired for High Crimes; the acting he did the in the picture – including the other films he did appear in; the work of stunt man Remy Julienne on High Crime – including a story that could have only happened during the 70s or 80s in genre film; his relationship with Nero during the era; and much more. Italian with English Subtitles.
The Sound Of Onions – Interview with Composers Guido and Maurizio De Angelis (22:36) – in this all-new interview with the composers, who were filmed together, begins with when they started in film with the soundtrack for a director Nino Manfredi called Between Miracles. Some of the other talking points include their methodology when it comes to composing and what they considered pop and classical compositions and the requirements they put their projects through; a discussion of the various directors they had worked with during their career; and much more. Italian with English Subtitles.
The Connection Connection – Featurette by EUROCRIME! Director Mike Malloy (12:53) – in this all-new interview with Malloy begins with the influences of High Crime and how High Crime was influential to other poliziotteschi films creating a circle. Taking facts, Hollywood cinema, Euro Crime lore, the actors, the films and connections to The French Connection, historical context in which they made both this and other films to show how the “connections” are made, hence the title of the interview/featurette. Using graphics, other video sources and graphics Malloy shows us how these two films The French Connection and High Crime are interconnected.
Alternate Ending (2:52) – a slightly different ending but still the copy of The French Connection ending.
Theatrical Trailer (4:17)
Poster & Still Gallery – consisting of 43 various production stills, lobby cards, home video art, poster art, and soundtrack packaging. The Gallery is controlled by using your next or back chapter stop buttons on your remote.
HIGH CRIME Original Motion Picture Soundtrack by Guido and Maurizio De Angelis (with EXCLUSIVE Bonus Track) [59:05] – in a word … cool. The soundtrack was so influential the film producers used the compositions in other Euro Crime and Poliziotteschi. The first track begins with an introduction by Guido, Maurizio, and director Enzo G. Castellari before diving into the 20-track complete soundtrack. Bravo to Blue Underground for including this added value in the limited edition set. I’ve listened to this soundtrack at least four times, while I was writing this review, and will no doubt add this to the rotation of soundtracks I listen to.
The Final Thought
Blue Underground continues to dazzle and impress with their 4K UHD upgrades to titles like High Crimes. Highest possible recommendations!!!
Blue Underground’s 4K UHD Edition of High Crime is out now.
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