Der Mann, der Venedig hieß (West Germany) (reissue title)
Der Rebell (West Germany) (working title)
Ein Killer jagt seinen Mörder (West Germany) (working title)
Knallharte Profis (West Germany)
Poliziotto va e uccidi (Italy) (working title)
The Rebel (International) (English title)
Digitmovies, in collaboration with gruppo Sugar, releases for the very first on CD the complete OST in full stereo by Stelvio Cipriani for the movie "Poliziotto solitudine e rabbia" (aka "The rebel"). The movie, which stars Maurizio Merli, Francisco Rabal, Jutta Speidel, Bobby Rhodes, was shot in 1980 by the genre specialist Stelvio Massi ("Squadra volante", "Poliziotto senza paura", "Un poliziotto scomodo, ecc.); it is the swan song of the Italian police genre of the '70s. After the assassination of two prominent businessmen, who were visiting Italy; an ex-cop, Nicola (Merli), is persuaded by his friend (Rabal) to work together to protect the life of a third German industrial, who came to Italy to establish business. During a shootout the industrialist is murdered, but in the hands of Nicola is one of the accomplices of the killer. By taking on his identity, the policeman goes to West Berlin and tries to infiltrate the criminal organization in order to get to the instigators of the murders. The setting in a Venice in autumn in the first part, and in a cold and melancholy Berlin in the second half, as well as the convincing interpretation of the entire cast make Massi's film a worthy culmination of a trend which was slowly going to die at the end of '70s. The dismissal of both of the genuine protagonists of the Italian police genre, the tandem Merli-Massi, is a poignant act of love for the genre that won fame and devotion among the fans of the genre. Stelvio Cipriani was able to capture perfectly in music the whole nostalgic side of the story by writing a monothematic score based on a recurring main theme, romantic and sad, for the protagonist which the author introduces during the opening titles with a pop arrangement performed by piano and sax (Tr. 1), frequently reprised (Tr.2, Tr.4, Tr.9, Tr.11, Tr.13, Tr.18), also in a vocal version (Tr.7, Tr.17), and contrasted with rhythmic suspense music characteristic of police movies (Tr.3, Tr.6, Tr.8, Tr.16). For our CD we could use every note recorded in the stereo master tapes of the original session.