Easily the biggest piece of Right wing non sense propaganda I ever saw.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

"Gang Wars in Milan" is Umberto Lenzi's worthwhile and compelling imitation of "The Godfather" – in Italy during the 1970's this type of films got labeled as the "Poliziottesco" – about the rivalry and battle between Sicilian pimps and French drug dealers. The drug barons are putting severe pressure on the sly and sleazy Salvatore "Toto" Cangemi, who practically has a monopoly over the prostitution network in Milan, to have his hookers sell heroin. The greedy French wolves also demand 70% of the profit, so you can image Toto refuses. The "negotiations" rapidly run out of hand, with some car-bombs left, some drug labs getting destroyed right and a handful of prostitutes being mutilated center, and gradually escalate into a devastating gang war. So, basically, what I've learned from this film is the actual definition of a mafia partnership: they start a war over 20% and when they finally do reach an agreement, all they do is double-crossing each other! "Milano Rovente" isn't the most spectacular of Italian crime epics of the 70's, as there are reasonably few car chases and violent shootouts on display, but it's nevertheless a solidly scripted and professionally acted atmosphere-driven thriller. There are some excellent plot twists to keep you interested throughout and the bit of cruelty (especially towards women) are quite hard to stomach. The film may lack some essential Poliziottesco aspects, like a dazzling soundtrack and ultra-psychopathic characters, but it was definitely a terrific predecessor to Umberto Lenzi's ultimate crime masterpiece "Almost Human".

As other reviewers have said this Umberto Lenzi "polizieschi" really pales compared to the director's earlier "Almost Human", which was one of the best of the entire genre, and Anthony Sabato is indeed a poor substitute for the great Tomas Milan. But this one does have its moments. This movie is about a "gang war in Milan" (the English title) between Sicilian pimps and French-connection drug dealers. The leader of former group (Sabato)brings in another menacing Sicialian godfather "Billy Barone" (Alessandro Sperli, who gives by far the best performance here) who ultimately turns out to be an even bigger threat than the "Frenchies".Most of the violence here is actually aimed at the prostitutes who get raped, beaten, have acid thrown in their faces, etc (although the testicles of one male character do suffer an unfortunate encounter with a car battery). The violence against women may be kind of turn-off for some, but it's also pretty standard for this genre. Marissa Mell is kind of wasted as the protagonist's gold-digging upper-class girlfriend, but the luscious Carla Romanelli (who played the sexy maid in "The Sensuous Nurse") is good as a sympathetic streetwalker.The film is enjoyably amoral. The police are almost irrelevant, and the gangsters are all equally vicious and double-dealing (and all of them are perfectly willing to traffick drugs). This is not one of the great Italian polizieschi, but it's pretty fun if you like the genre in general like I do.

Umberto Lenzi made some of the best Italian crime films with films like The Cynic, The Rat and The Fist and Almost Human, and part of the reason why these films were so successful was due to the presence of one of Italy's finest actors - the great Tomas Milian. This film doesn't feature the immense talents of Mr Milian, although it's not all bad news as Lenzi has still managed to put together a pretty damn good little crime thriller. As most of these films take a lot of influence from the masterpiece Dirty Harry, many of them focus on police officers - but this one puts its focus on criminals. The main character is a fruit vendor who makes most of his money through pimping prostitutes. His lucrative racket is interrupted one day when a French drug dealer decides that he wants to go into business with the pimp, using the whores to push his drugs. However, our pimp isn't happy with that, which is a problem as the French drug dealer isn't happy with people saying no to him, and so sets about trying to find ways to force the pimp to work with him.It has to be said that Milano Rovente is not a spectacular crime flick; especially when compared to Lenzi's other works. However, the film is notable for the way that it doesn't strictly adhere to the rules of the genre, and also for the fact that the interesting story is carried off with panache by a team of decent actors. Antonio Sabato is no Tomas Milian, but he carries the lead role off well in his authoritative role. Lenzi's crime flicks tend to be more violent than the rest of the pack, and this one doesn't disappoint in that respect as it features plenty of brutal scenes. There isn't a lot in the way of car chases, and it has to be said that the tone of the film is largely downtrodden throughout; unlike the majority of these types of films which tend to be largely quite fun to watch. It all boils down to a nice, and rather fitting, conclusion and while I can't say that Milano Rovente is one of the best films of its type - it certainly isn't a bad one, and fans of this sort of film are likely to enjoy it.

The storyline is the Italians vs. the French. More accurately, the Italian pimps vs. the French drug pushers. Antonio Sabato stars as Salvatore Cangemi, Milan's biggest pimp who refuses to get in the drug trade with some French gangsters. Ah, a pimp with standards. Of course, this is what makes MILANO difficult. How can one root for a guy who repeatedly degrades/beats women and smacks around people because "the English language annoys him" at a bar? The film is interesting to watch in that it is Umberto Lenzi's first crime/mafia film. Up until this point, Lenzi had done westerns, gladiator films, spy films and a couple of giallo but nothing this focused on Italy's crime element (unless you count KRIMINAL). This comes off as a blue print for his later works. I wonder if Lenzi gauged what audiences liked the most and least from this film and infused them into his next entries. It is a theory that may hold some water because just a year later he would deliver ALMOST HUMAN, his Italian crime classic.