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Rating: The genre cinema represents a vast and multifaceted cauldron, in which, alongside products without any pretensions, it is possible to find interesting works that, surpassing the overused definition of "B-Movies," present themselves as well-crafted even to the most demanding viewers. Staying firmly grounded in the '70s, and particularly in the limited field of "poliziotteschi", which were very fashionable at the time, one can unearth real gems by arming oneself with patience and a taste for research.
Among the most interesting films of the genre, a special mention can certainly be made for "Una Magnum Special Per Tony Saitta," a film from 1976, directed by the great "craftsman" Alberto De Martino, who in the '60s specialized in Peplum and moderately successful Spaghetti Westerns, replaced with the arrival of the new decade by the boom of atmospheric Giallo-Thrillers and American-inspired detective films, which strongly attracted the Roman director as well. Distributed in the USA under the title "Strange Shadows In An Empty Room," boasting an international cast with "stars" Stuart Whitman in the role of Captain Saitta and John Saxon (a true myth of the more underground '70s!) as the trusty Sergeant Matthews, "Una Magnum Special Per Tony Saitta" involves the viewer in a continuous succession of events and unpredictable twists that, besides entertaining for the entire 94-minute runtime, captivate both the most hardcore fans and casual viewers, eager for an hour of pure and unfailing action.
The plot is not intricate but still requires attention due to the gradual connections that arise within it: Tony Saitta, a hot-blooded Ottawa police captain with brutal and direct methods, learns of the poisoning death of his sister Louise, a university student in Montreal. Desperate, he heads to the Canadian city, where he immediately accuses Dr. Tracer (played by the great Martin Landau) of murder, suspecting him of a love affair with his sister, as well as being responsible for her death. A series of other unresolved deaths push the tough Saitta and the trusty Sergeant Matthews to reconsider their positions, leading to Tracer's exoneration and the continuation of the investigation. After chases and various perils, they finally reach the resolution of the enigma, in a bitter ending that, besides marking the completion of Tony's revenge, reveals new aspects of the dark and twisted personality of the deceased Louise, thus proving to be anything but happy.
Everything seems to work in De Martino's film: from the overseas settings to the excellent choice of actors, from the fast and engaging pace to the tight succession of events, all the way to the spectacular soundtrack composed by the brilliant Armando Trovajoli, which, with its successful mix of ambient Jazz, explosive Funk, and majestic orchestrations, strikes the mark and provides the perfect backdrop to the adventures of the stern Italo-Canadian policeman.
In the end, "Una Magnum Special Per Tony Saitta," while not being a masterpiece, is a undoubtedly valid work that, distancing itself from the classic clichés of Italian police movies, fully places itself among the most interesting productions of Italian cinema of those years.
To be recovered.
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