This was the first break-through success of a Poliziotti Italian crime movie and spawned several dozen imitations. Possibly the best film ever made, High Crime delivers the goods like few other movies, blending some experimental filming and editing techniques in with some good performances, solid action sequences, great music, and some pretty stunning photography by Alejandro Ulloa. Unlike a lot of other crime flicks made around the same period, this film isn't sympathetic at all to the villains. They are cold and heartless thugs who's so anything to keep themselves out of jail where they rightfully belong. This film is completely fascist and right-wing in its undertones, yet maintains an engaging level of emotional impact throughout. The scene where Franco Nero discovers his daughter dead made me almost want to cry... and Castellari expertly handles the flashbacks and knows just when to use slow motion in all the right spots. This wasn't the film which set the trend in Italian crime films (see Violent Professionals) but it was an excellent film which caused their widespread (yet short-lived) popularity. Certain elements (like the getting-in-car-gun-down) were endlessly repeated in the genre by Castellari himself as well as his father Marino Girolami, who totally ripped off the ending of this film in ROMA VIOLENTA, a much more typical film in the genre with Maurizio Merli, who although is not as good an actor as Franco Nero, is much more intense as the leading man in these sorts of films. 译文(3): 这是Poliziotti意大利犯罪电影的第一次突破性成功，并催生了几十部模仿电影。《高犯罪率》可能是有史以来最好的电影，它像其他几部电影一样，将一些实验性的拍摄和剪辑技术与一些好的表演、扎实的动作场面、美妙的音乐和Alejandro Ulloa的一些令人惊叹的摄影相融合。与同一时期拍摄的许多其他犯罪电影不同，这部电影对反派角色一点也不同情。他们是冷酷无情的暴徒，他们想尽一切办法让自己远离应有的监狱。这部电影的基调完全是法西斯和右翼的，但始终保持着引人入胜的情感影响。弗兰科·尼禄发现女儿死了的那一幕让我几乎想哭。。。Castellari熟练地处理了倒叙，知道什么时候在所有正确的地方使用慢动作。
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