Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
太变态了，甚至比《钛》变态多了，但是我很喜欢。
最后二十分钟确实有些恶心，不过好在各种洞的延展性都不错，都能用来生孩子(⋟﹏⋞)
不可描述的不适，有些电影你看过了，真希望自己从没看过。
黑叶芝黑到位了，看的人人版被剪了不少只能靠脑补，高饱和的环境色很容易联想到《湮灭》
“what is it that you want from me” “your love”
加兰太棒了！是那种会让人彼此对望会心一笑的电影。男人的繁衍欲和无限复制的各色面目：满嘴脏话的暴力男孩，虚伪爹味的神父，暴露狂跟踪癖，无法被信任的公职人员……美丽宁静的背后是无尽的陷阱和屠杀，最后震撼的奇观也构成了极度寓言化的女性叠加压迫的形式再现，但女人，终究是勇敢的女人，在被侮辱和损害亦能盎然重生。
挺惊悚，最后那点挺恶心，男人的五种状态确实带来恐惧
被预告里的摄影吸引来看的，期待值非常高，但最终呈现的内容确实是意料之外。我看懂了它想要表达的含义，但却没办法喜欢。看完之后像被扼住了喉咙，不知道该从什么角度去消化它的现实意义。如果艺术能仅仅停留在艺术就好了。
非常漂亮的摄影啊，一种沁人心脾的清爽！同时惊悚桥段又非常给力！感觉有了疯狂的设计却没有贯彻到底，无疾而终了！可惜！
暴力伤害、身体侵犯、荡妇羞辱、宗教训诫、道德指摘、情感勒索、权力支配、母职绑架、生殖压迫……一边集齐厌女的层层面向，一边剖开女性的深层恐惧。接踵而至的嵌套式厄运，如梦魇和回声般循环往复阴魂不散。最后的血腥套娃场面简直惊世骇俗。
哇哦！！！我竟然有点懂为啥上古段剧情不需要出现子女了——来看乌梅自体繁殖啊！
觉得立意虽棒但不够毛骨悚然的一大原因可能是Rory虽演技了得 但个人气质上 属于憨厚中还带了一丝委屈 不及真实社会上很多men一半的爹味, 戾气和creepy
传递出来的男人那点小心思小动作真的蛮有意思
“天下男人一般黑”的表现形式就是让一个演员演所有男人哦！你get得到我这个高智商烧脑批判社会的主题吗嗯？（我能，但您能拍个好电影吗）
从这部电影的标题开始，它就只打算“简单直接”，因此这也形成了这部电影“完全恐男”的基本盘，这样的性别议题反思并不能算到位，只是用了一个《逃出绝命镇》似的外壳重复了一种恐怖类型片的拍摄模式。影片的优点主要是导演对心理环境的把握以及源源不断的图像隐喻上，从苹果到乌鸦到蒲公英，从绿色静谧的女性空间到隧道口突然出现的裸男，其中有些太过直白，不过最后的男生男与丈夫的伤口倒确实是一处妙笔，代表了父权社会遗毒的代代延续毫无改变。除此之外影片在恐怖类型处理上并不算高明，导演很明显过于依赖自己在情绪段落处理的优势，结尾女友的视角其实是可以给人最后一拳的点睛之笔，但也被情绪一笔带过，也让整部电影最后只能落在“情绪层面”的恐男，而无法进一步深究。全片的性别反思也就刚好达到《逃出绝命镇》似的政治正确算计。
看前半段还想：这算什么恐怖片，画面还蛮清新唯美的呢。看到后半段裸男肛生子、裸男破腹产、以及各种身体部位的套娃……看得人都麻木了，回想起来还是最初窗边的裸男最恐怖，像车后备箱的炸弹不知什么时候引爆。
愿这世上再没有文艺恐怖片🙏，每次看完都感觉被诈骗了🥹
绿色的海洋，色调看起来有些不真实，一种见离感迷幻了观众的视野。洞穴之光，回音游戏，所有意象的堆砌，是为了表示讲述一个现代寓言。有的空镜很美，但是又显得故事张力不足。空洞的感觉，就像拆开俄罗斯套娃一般。
膈应人；只是放大了“男性社会对女性压迫这个问题”，没有起到任何缓解作用（根据导演男的看来这也是合理的）。
最近两年最好的恐怖片 远好于同一题材的《隐形人》
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