The story is about a youth named Massimo Monaldi, who, living in Rome, is a part-time college student who has some involvement in the protests that occur at his university. Massimo is also involved with drugs and he sometimes steals to make a living and support his habit (the theft of a pill box is very important to the story, early on). Among his associates are his girlfriend, Cinzia, who comes from a wealthy family, and he has a wealthy male friend named Rudy who is very naive as well as strangely pampered by his doting mother. Both families don't approve of their relationship with Massimo.
After the theft of the pill box from Cinzia's home (she's an accomplice), and after encountering a certain man, a mafioso-type wanted by the police, Massimo soon finds himself in trouble with the police. The man, who has some dealings in the drug trade, befriends Massimo, but this association brings about Massimo's downfall; first leading to a crisis regarding his girlfriend and his best friend, when they attend a drug party with him; then finding himself on the wrong end of his association with the mobster. Who, at the end of the film, will get to Massimo first: the police or the mobster?
I found this film to be very weird and the plot a little disjointed, but interesting, especially as it's so obscure, and is very '70's-ish in the way it was filmed. It was a side of Roman youth culture I had never seen before. However, I felt that the director, Lucio Marcaccini, who it seems, fell off the face of the earth after this film, was a lousy director and didn't fully take advantage of the talent that he was working with. Maybe he was on something himself when he was making this film, as I began to feel that I would have done better directing this film myself! I also take to task the theme song, "We Got A Lord," which was also used in a love scene and at the closing credits. Its use in the film made absolutely no sense to me.
However, I thoroughly enjoyed Bud Cort as Massimo Monaldi, which I thought was a welcome change from the "crazy, demented youth" roles he had been given around the time he did "Harold and Maude". I have read that he took off a few years from acting after that film because of the typecasting he was going through. I am sure that this is the first film he did when he returned from his acting hiatus.
In "Roma Drogata" he was allowed to be more versatile as a leading man: he was sometimes romantic; sometimes cool and crafty; sometimes naive; sometimes sweet and romantic; or sexy and intense in the role. I wish that he had been given a chance to do more roles like this one! I also enjoyed Marcel Bozzuffi, best known in this country as the hit man, Pierre Nicoli in "The French Connection," who played the police inspector.

居住在纽约的亚历克斯（David Hess 饰）白天是一个地下修车厂的工人，晚上则化身为杀人强奸无恶不作的暴徒。某晚，他和工友里奇（Giovanni Lombardo Radice 饰）正待关门打烊之际，一对开着凯迪拉克、衣着名贵的青年男女来到这里修车。里奇三下五除二将车修好，高兴的车主汤姆（Christian Borromeo 饰）热情邀请二人一同前往新泽西参加一个派对。
正愁无处打发时光的二人欣然前往。派对是在一座空旷的公园中举行，参加者皆是上层社会的富人，穷酸鄙陋的亚历克斯和里奇自然成为富人们取笑的对象。无休止的嘲笑和恶作剧终于让混世魔王亚历克斯爆发，他和里奇痛揍这群脑满肠肥的富家公子哥，强暴那些外表雍容内心淫荡的上流社会女子。一场华丽派对顿时化作血腥斗兽场……

This film is in a league of it's own: I won't bother to re-state what every other person has already posted regarding the plot. Needless to say it makes no sense what-so-ever in the big scheme of things, but there is plenty of violence and preposterous characters such as the "Crystal Skull" liven things up no end. The best line in the whole film has to be "We can't move; we're immobilised" (by an invisible force field), so how come he can still move his jaw to speak? As I say ultimately in a league of it's own and one of the best examples of how practically any script was considered during the 80's as a potential blockbuster!

一部惊悚片，讲述一名记者从海外任务归来，发现自己的孩子在医院，而妻子已经去世。记者从他的医生朋友莉迪亚·弗兰齐那里得知，这个孩子并不是他的，因为他自己根本没有生育能力。记者乔治奥和莉迪亚很快成为了恋人，而莉迪亚险些丧命于凶手（或多名凶手）的残暴之手，这名（或这些）凶手还以令人震惊的暴力方式杀害了多名其他受害者。

苏萨是美国一个橄榄球队教练的女儿，她的父亲叫盖勒。一天她准备和男友乔治岛加勒比海的一个岛上去度假，在过境时她受人陷害，并以携带毒品的罪名被带到另一个国家的监狱中。乔治逃脱了警察的追捕并马上电话通知了盖勒，盖勒问讯后立即赶到异国去营救女儿。在当地他找到了一名退了休的老律师帮忙，在这位参加过越战的美国老兵的指挥下，一群装扮成橄榄球队的手下开始了惊心动魄的劫狱行动。这次行动能否成功？他们能不能把苏萨从魔爪中解救出来？

We follow the Journal reporter Paulo whose close friend mysteriously been taken out of the way and it's now up to Paulo to figure out who the culprits are. The film is set in a drug-scented and "swinging" Los Angeles, where orgies and violence seem to be commonplace, and it soon appears that Paulo is on someone's hit list.