SABATO (first episode): A company receives the visit of a very very important person. This person works for a biggest Japanese society, and this encounter is decisive for the small Italian company.
DOMENICA (second episode): After a hard day of job, a man returns in it's house for sleep. But a series of facts hinder this, and the poor man does not succeed to sleep.
VENERDI (third episode): A famous and rich creator of sexy ballets have various problems with a dancer. She want to leave the theater and marry a Mafia man.

A manufacturer from Milan goes on vacation with his wife Clara and his teenage daughter. In the same hotel stays Fabio Lorenzi, a writer without inspiration and with a depressive crisis, who years before had been Clara's lover.

Castelli is an advertising executive who, having returned home early due to a car accident with Eleonora Rubens, a young Dutch woman abandoned by her husband, surprises his American wife in intimacy with the plumber.

Inspector Tellini investigates serial crimes where victims are paralyzed while having their bellies ripped open with a sharp knife.

Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.

Fr. Hugh O'Flaherty is a Vatican official in 1943-45 who has been hiding downed pilots, escaped prisoners of war, and Italian resistance families. His activities become so large that the Nazis decide to assassinate him the next time he leaves the Vatican.

1969 film by Bob Fosse

Formerly, the usual UK title was THE BOGEY MAN AND THE FRENCH MURDERS. There's also a Greek video with the sleeve title, CALL GIRLS FOR INSPECTOR BOGART. The inspector is not named Bogart, nor does he get any call girls, but who cares? It's a title that sells.
There's a killer in Paris, a suicide from the Eiffel Tower, a brothel as the main setting, insane professors, an eye-ball thief, an inspector who looks like Humphrey Bogart (for no apparent reason), a truly creepy Anita Ekberg, and an impressive line-up of Euro-stars. How Dick Randall assembled this cast is beyond me, but he did it. Besides Anita Ekberg, there's Rosalba Neri (who even sings a song in a nightclub), Barbara Bouchet, Evelyn Kraft, Howard Vernon, and Robert Sacchi as inspector Pontaine or Humphrey Bogart. The title is pretty accurate. The murders take place during, before or after sex in a brothel in Paris. In between, the Bogey-man snoops around trying to track down the killer, but he is not too bright. You'll probably have figured it out long before he does.
The film's producer was American Dick Randall who took residence in Rome in the '60s but basically was wherever the deals where made, which meant Rome in the '60s, Bangkok and Hong Kong in the '70s and London in the '80s. Whilst residing in Italy, he payed close attention and decided to take a shot at the giallo as well, and produced this piece of cinematic soufflé. It's a perfect example of totally round the bend Euro-tosh, with a rather tame execution actually. The direction is not wildly imaginative, a workman's job at best, so don't expect outrageous Italian craftsmanship and style here, but some spicing-up in the editing by Bruno Mattei.
The special effects were done by future Oscar-winner Carlo Rambaldi of ET fame. I guess he learned a lot since this one. Of course, the presence of Robert Sacchi, among some other ingredients (mostly the cast) give this film a certain weird identity of its own. All together, it's pretty much a poor man's interpretation of an Italian Giallo.
The version on Mondo Macabro's DVD never existed in this form. From various copies, they assembled the longest version they could possibly paste together. There's an English audio-track, but a couple of scenes appear in Italian with subtitles.
imdb comment

Italian murder mysteries don't come any sexier than Amuck!, originally titled Alla Ricera del Piacere (In the Pursuit of Pleasure). Though the story may be another retread of the old Whatever Happened to Aunt Alice? gimmick of a seemingly innocent assistant turning out to be much more than they appear, there's thankfully much more here than meets the eye.
Lovely blonde Greta (Barbara Bouchet) has just begun a new job as the secretary to prominent writer and art snob Richart Stuart (Farley Granger), who lives in an isolated Venetian country home with his perverse wife, Eleanora (Rosalba Neri). After the wife and secretary enjoy a slo-mo tumble in the sheets, it turns out Greta has actually come to investigate the disappearance of the Stuarts' last assistant, Sally, who happened to be Greta's lesbian lover. During a petting party, Richard shows off a porno version of Little Red Riding Hood which he shuts off abruptly when Sally appears in the frame. Then a casual hunting trip into the marshes turns nasty when Greta nearly loses her life in quicksand, and Richard's latest whodunit novel begins to bear a sinister resemblance to the deadly events occurring inside his house...
Thanks to the inspired teaming of Eurocult goddesses Bouchet and Neri, both of whom have copious nude scenes ensuring a strong fan following, Amuck! succeeds as a slinky thriller guaranteed to raise one's temperature a few degrees, even if the mystery angle itself is rather limited. All three leads offer enthusiastic performances, with Granger's shifty, wooden demeanor actually serving him well in contrast to some of his less memorable giallo turns in The Slasher Is the Sex Maniac and What Have They Done to Your Daughters? Meanwhile Neri takes top acting honors for her nasty bitch in heat routine, which really comes into play during the feverish drawing room climax. For once all of the sex scenes and bare skin are genuinely integral to the story, which features a haunting flashback near the end accompanied by Teo Usuelli's catchy, repetitive theme song in which a woman repeatedly purrs, "Sexually!" This nifty piece has become a retro music staple in recent years thanks to CD compilations, gaining a familiarity to rival Vampyros Lesbos, but the entire score is up there with the best of its time and deserves a CD release.

A 40-year-old loser named Isidoro at the request of his brother drives from Italy to mountainous Carpathian village in Ukraine with a coffin of a diseased Ukrainian worker, who died at a construction site in Italy.

Sir James Bond is called back out of retirement to stop SMERSH. In order to trick SMERSH, James thinks up the ultimate plan - that every agent will be named 'James Bond'. One of the Bonds, whose real name is Evelyn Tremble is sent to take on Le Chiffre in a game of baccarat, but all the Bonds get more than they can handle.

When two sisters inherit their family castle, a string of murders committed by a mysterious dark haired woman in a red cloak decimates their circle of friends. Is the killer their ancestor, the "Red Queen" whom legend says claims seven lives every hundred years?

A reporter and a promiscuous young woman try to solve a series of child killings in a remote southern Italian town rife with superstition and a distrust of outsiders.

Simone, a clumsy financier, falls in love with Claudia, who’s living on her grandma’s retirement checks. When the old lady dies Claudia hides the body in a freezer, and sets up a fraud with the help of some friends to avoid bankruptcy.