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Franco Nero ist gerade auf dem Weg sein hart erarbeitetes Geld in die Sparkasse einzuzahlen und gerade in diesem Augenblick versucht der hiesige Gang die Sparkasse ausrauben. Franco wurde nicht nur geschlagen, sondern es wurde ihm sogar sein Geld geklaut. Der Zorn ist aber eine mächtige Bewegkraft und so entscheidet er sich zu rächen… und dabei macht er einen engagierten und einen übertriebenen, fast irren Eindruck. Ich wusste nicht, wie ernst ich den Film nehmen soll, und so nahm ich ihn so ernst, wie es ging, und genießte hauptsächlich die Action-Verfolgungsjagd. Die ist für damalige Zeit sehr treu gemacht und nach heutigen Maßstäben gehört sie zum guten Standard. (10.08.2020)

An Italian light version of Death Wish, but a bit more sophisticated, and Franco Nero and Charles Bronson had comparable charisma. I understand why this flick was not screened in the Czech cinemas of the time, it's not much more than light action entertainment. It lacks the craftsmanship and heaviness of Damiani's films (it didn't "hold the mirror" enough). The plot is a bit naive, but it builds up decently in the second half and culminates in an excellent ten-minute sequence where violence is not spared. (17.06.2012)

I saw the film as part of the Greats of Cinema series. Franco Nero's blue eyes and his acting talent have certainly left an indelible mark on Italian and world cinema, but his name is not a guarantee of anything. Nero's career has fluctuated, he has participated in the production of famous film works, only to immediately assist in the making of the biggest crap - Jakubisko's Post Coitum is a typical example of that. Unfortunately, Street Law is part of the significantly worse films that the actor has been involved in throughout his long career. In theory, it could have been a more complex and better-performed variation of the film Death Wish, which, starring the less versatile Charles Bronson, was rather a one-dimensional affair. However, screenwriter Arduino Maiuri, who has a few decent scripts to his name, chose a weaker moment this time. Director Castellari was brimming with self-confidence, but certainly not with ideas and talent, and Nero himself sometimes overacts to the point of pain and emotionally seems highly untrustworthy. However, this fits into the overall wretchedness because the whole story is untrustworthy and the hastily formed friendship between the main character and the blackmailed criminal is among the dumbest things that film creators have ever served me. The psychology of all the actors is highly questionable and full of illogical missteps. The opening heist is passable and you can even overlook the following car chase, but everything else is bad, or rather, very bad. Definitely do not consider this title as part of the famous series of Italian social-critical crime films from the 70s. Overall impression: 25%. (17.09.2018)