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Last Stop On The Night Train Aldo Lado 1975 BluRay Ebleep
Cast: Flavio Bucci, Macha Méril, Enrico Maria Salerno, Franco Fabrizi
IMBD: Link
Language : Two Audiotracks: 1. Italian, 2. English
Subtitles : English
Year after year, as Italy was facing a seemingly unending series of political attacks, attempted coups d’état, murders, robberies, as part of a devastating violent escalation, a number of films openly portrayed an ideology that postulates the necessity of fighting violence with violence. As film historian Gian Piero Brunetta wrote, “A bit like in the American models, the only possible and practicable way seems to go back to the law of the jungle, where the citizen is authorized to do justice by himself.”
The commercial success of Enzo G. Castellari’s Street Law (over a billion and eight hundred million lire grossed in the 1974–75 season) paved the way for poliziotteschi’s most critically panned subgenre, that of the vigilante, which tickled the audience’s emotions with an arrogance that was equal only to tearjerking melodramas, and used the same tricks to provoke not pathos but indignation. The change of perspective was patent since the very titles: Il cittadino si ribella (“The Citizen Rebels”), L’uomo della strada fa giustizia (“The Ordinary Man Does Justice”) placed at the centre of attention not the police but the average guy. That is, the petty bourgeois who gained a solid economic position ever since the “Boom” of the 1960s.
With the skyrocketing of urban crime, the need to defend one’s property became a primary necessity. Besides the obvious yet somehow misleading nod to Death Wish—it is worth noting that Street Law was released in Italy before Michael Winner’s film—the vigilante subgenre also recalled such prototypes as Sam Peckinpah’s Straw Dogs (minus the disquieting anthropological notations) and Wes Craven’s The Last House on the Left (but in a urban setting and minus the emphasis on extreme gore), both hybridized with the remnants of post–1968 political cinema, which was turned upside down and deprived of its inner meaning.
The civil appeal of Petri, Damiani and Vancini’s films was therefore replaced by a pitying and mildly populist vision: the contradictions between the preaching ardor inherited by the prototypes (which became a mere spectacular hook) and the violent, right-winged conclusions—an inevitable consequence of a narrative development which was strictly dependent on commercial exigencies. In mid–1970s Italian cinema this meant sex and violence, as shown by the proliferation of the “rape and revenge” subgenre with films like Aldo Lado’s notorious Night Train Murders (L’ultimo treno della notte, 1975), which had got as much in common with The Last House on the Left as with the vigilante thread.
These films were usually accused of being fascist, and not without reason. (Roberto Curti)
[ About file ]
Name: Last Stop On The Night Train.Aldo Lado.1975.BluRay.Ebleep.mkv
Date: Sun, 01 Feb 2026 18:38:54 +0100
Size: 8,230,227,161 bytes (7848.956262 MiB)
[ Magic ]
File type: Matroska data
File type: EBML file, creator matroska
[ Generic infos ]
Duration: 01:34:04 (5643.584 s)
Container: matroska
Production date: Thu, 10 Jun 2021 13:04:07 +0100
Total tracks: 5
Track nr. 1: video (V_MPEG4/ISO/AVC) [L'ultimo Treno Della Notte (1975)] {eng}
