I'm a big fan of Italian cop flicks, but Confessions of a Police Captain actually doesn't contain many of the things that I love this type of movie for. Damiano Damiani's film is an early example of the Polizi flick and has the rare accolade of not following on the heels of Don Siegel's masterpiece Dirty Harry. The film is a rather more sober affair than what I'm used to from this sort of film and doesn't feature the things such as car chases, gun fights and fistfights that other films in this genre feature in droves; but this is made up for by the fact that the director has created a stylish and interesting film that flows well throughout. The plot focuses largely on the mafia that run Italy over and above the law. Our two central characters are Commissioner Bonavia and District Attorney Traini who are investigating mafia occurrences in the city. The plot begins with an attempt on a man's life, and the man later turns out to be D'Ambrosio; a man high up within the mafia. The two law enforcers appear to be on the same page in fighting the crime in the city...

Damiano Damiani was apparently quite a prolific crime film director in the seventies; although the only film I'd seen from him prior to this one was the abysmal Amityville II. It's clear that he has a real flair for this sort of film, however, as Confessions of a Police Captain is perfectly pitched and very professionally done. The fact that the film doesn't feature the things that usually make these films exciting may be a hindrance for some people, but in my opinion; the film has more than enough going for it elsewhere. The two central performances are one of the film's strongest elements. American actor Martin Balsam is fantastic as the police commissioner, but even better than him is Franco Nero as the district attorney. I've seen a lot of Franco Nero films and every time I see him, I become more impressed. He's a very versatile actor who seems to be able to play just about any role and once again he gives a fantastic lead performance. The commentary on justice is well thought, although I have to admit that I wasn't keen on the ambiguous ending. Overall, this is at the very top of Italian cop flicks; while it doesn't fit in with some of the better known examples, it's hard to deny that it is a gem of a movie.

Boom! Awesome, flawless movie. Doesn't get much better than this movie. Balsam's performance is so divine that it gives me goosebumps to this date. Highly recommended if you can find it. The pace is perfect...not too slow, not too fast. It unfolds wonderfully.

This Italian crime drama from director Damiano Damiani is a very well directed film; throughout his long career, Damiani has succeeded in making classy films (with the exception of AMITYVILLE II: THE POSSESSION) and this one is no exception. However, it isn't an action film at all, so those looking for gun and fist-fights should look elsewhere. Things kick off with a criminal being released from an asylum; his immediate action is to go gunning for a crime boss who duped him. There's a brief, expertly directed shoot-out, and then the police procedural story of corruption and racketeering really begins.

Instead of action, Damiani delivers us a character-focused drama that's presided over by the larger-than-life Martin Balsam as a corrupt police captain. Balsam makes this film work; rather than being presented as a villain, he's a sympathetic character and his minimalist performance really works here. Playing a totally unflappable captain – he doesn't even blanch when presented with evidence of his crimes – he really makes the viewer identify with his aims and methods and Balsam is superb throughout.

The film is rather lengthy and slow-paced, and it's more about acting and plot than anything else. Damiani's photography is excellent and the film has a polished veneer to it. Unusually, Franco Nero is present, but as a supporting role rather than a leading character; he's okay, but in comparison to Balsam, he seems wooden, overdoing it. The rest of the cast is filled by hard-faced actors playing various lowlifes, and they're all very effective. The beautiful Marilu Tolo puts in a notable performance as a woman caught up in the mess.

Full of some very memorable scenes – the shoot-out, the striking builder lying in his own blood, the ending in the prison – this is a genuinely good film; a little slow and lacking in action for my liking, but with good technical qualities and a nice score from Riz Ortolani, the guy who did the music in the infamous CANNIBAL HOLOCAUST. In the end, though, it's Martin Balsam who makes this film so good.