Arthur_Desmond
I only bother reviewing this film because it contains one of the most disturbing revenge scenes ever shown in Spanish cinema, near the end of the movie. It temporarily suspends the condescension usually shown by these films, wherein poverty and delinquency are usually either uniformly excusable, or solely the output of institutional discrimination. And it proves that this is not a simple battle between good and evil, but a very miserable human landscape on both sides of the law, where brutalized prison inmates and marginalized "quinquis" and gypsies can at times be every bit as psychopathic, sadistic and perverted as the fascistic cops they take revenge on.Other than that the film alternates trashy music, shoddy editing, unfocused and even dirty-lensed camera-work, awkward dialogue, unintentionally funny erotic scenes, zany humor, acting talents that would be deemed amateurish in a porn film and the aforementioned knee-jerk, pseudo-Fabian patronizing attitude towards delinquency, and is as much of a train wreck as the rest of its director's filmography.
ma-cortes
Second part of the ¨Perros Callejeros¨ trilogy by Jose Antonio De La Loma , the authentic creator of the Quinqui sub-genre . This middling ¨Quinqui¨ movie deals with Ángel Fernández Franco , alias ¨El Torete¨, it tells his life like a legend , executing heists , ¨Tirones¨ and other crimes and misdemeanours . In the flick there is frenetic action , eroticism , chases , exploitation and sensationalism that undermine verisimilitude . The film begins with the same ¨Torete¨ (Angel Fernandez) watching ¨Perros Callejeros I¨ at a private exhibition along with the filmmaker (played by Fernando Almada) . Become a star , thanks to the successful first film , he again goes on his criminal career , being accused for collaboration in a killing committed by El Vaquilla (Bernard Seray) when driving he ran and hit a woman . Meanwhile , ¨Torete¨ falls in love for a beautiful girl (Verónica Miriel) and , subsequently , for a young prostitute (Teresa Jimenez) . Later on , a cripple as well as revengeful cop seeks vengeance against Torete . As , Angel Fernández Franco , El Torete¨ , is detained , imprisoned and locked in Modelo penitentiary of Barcelona where a riot takes place .¨Perros Callejeros I ¨ was a popular and big Spanish hit , that's why director De La Loma made this sequel enhancing the customary ingredients that got again a hit smash , such as noisy action , hold-ups , car races , stabbing , pursuits and nudism . Furthermore , it increases scenarios , erotic situations , and budget , but these aspects do't get better the film's quality . Including some very crude images as when the police's daughter is abducted and mistreated ; showing brutal rape frames as female as male . This is one of several movies dealing with youth delinquency in Spain during the 70s and early 80s mostly realized by Jose Antonio De La Loma , along with ¨Navajeros , "Colegas", "El Pico 1¨ , 2" , ¨La Estanquera De Vallecas¨ by Eloy De La Iglesia and especially ¨Deprisa , Deprisa¨ by Carlos Saura , among others . The screenplay by the same Jose Antonio De La Loma is such strong with disagreeable events , including nudism , violent scenes , though also with some ingenuousness and brief ironical moments . Jose Antonio De La Loma chose young and natural actors as Angel Fernandez Franco and Bernard Seray who play their part to the hilt , unafraid of filmmaker's unsympathetic camera and the particularity of the characters . Here appear gorgeous women as Verónica Miriel who had an acceptable career and interpreting some erotic films , Teresa Jimenez who acted in ¨Perras Callejeras ¨ and Isabel Mestres who in ¨Perros Callejeros III¨ performed a journalist . And it shows up real delinquents with peculiar names and nicknames such as : El Chino¨, ¨El Pijo¨, ¨Caracol¨ , ¨El Trompeta¨, among others . Atmospheric musical score including ordinary disco-music of the 70s , adding usual scenarios and dancing from Discoteques . Regular photography with juicy atmosphere by Juan Gelpi , but unfortunately turns too much murky in some video print , being necessary a perfect remastering . Juan Gelpi photographed various De La Loma's films such as : ¨Squadron , Counterforce¨ , ¨Nuca En Horas De Clase¨ and being Antonio Isasi Isasmendi's habitual cameraman as ¨Verano Para Matar¨, ¨Aire De Un Crimen¨, ¨Vegas 500 Millones¨ , ¨El Perro¨ and ¨Estambul 65¨. Shot by the creator of ¨Quinqui sub-genre¨ , the veteran and prolific Jose Antonio De La Loma , in his usual botcher style , plenty of extreme sensationalism and exploitation , who filmed the successful trilogy : ¨Perros Callejeros I , II¨ and ¨Ultimos Golpes Del Torete¨ and he even made a female version : ¨Perras Callejeras¨ . In his youthful De La Loma worked as a teacher in the Chinese barrio of Barcelona and he lived poorness and isolation . As he hired true delinquents who used their peculiar slang and particular behaves , all of them give a certain realism to these offbeat films . The motion picture was regularly directed by Juan Antonio De La Loma who had a long career including titles as a writer and a filmmaker in all kinds of genres , as Western : ¨Professional for a massacre¨ ,¨Texas Kid¨ ,¨Clint the solitary¨ , ¨Return of Clint¨, ¨The last Mohican¨, ¨Seven pistols for Timothy¨ , ¨Viva Carrancho¨, ¨The Boldest job in the West¨, ¨Blood at sundown¨or ¨Porque Seguir Matando¨ and Action : ¨Metralleta Stein¨ , ¨Razzia¨ , ¨Explosion¨ , Squadron: Counterforce¨or "Playing with Death" , ¨Goma 2¨ , ¨Tony Carrera¨, "Playboy to Kill" and several others .
