It's not often Umberto Lenzi shows restraint, but I'm really glad that he cut away right before those mobsters shoved a huge candle up that transvestite's arse.
This poor transgender person wouldn't have suffered such a fate if it wasn't for Henry Silva, but then how was Henry supposed to know that his endless search for the guy who killed his daughter would have negative consequences? His kid gets shot during an armed robbery (for no reason either - the robbers just let a couple of bullets fly while heading out the door), and now Henry has a single clue to go on, and no faith in the Italian police.
I thought it was a bit harsh that Henry got fired from his job while grieving for his kid, but that just left Henry more time to get madder and madder while watching the country go to pot as he's harassed by bikers, sees men drool over his wife, and sees a guy stealing stuff from a street market. To be fair, he does give that guy a right good kicking. How can Henry (eventually) get to the people who killed his kid?
Turns out he has a few allies - his friend is newspaper editor Silvano Tranquilli is one, and although the cops aren't too good at finding the killers, the chief inspector tries to be as sympathetic as possible. There's also the semi-sinister vigilante group who like to smash people's hands with sledgehammers. Lenzi doesn't pull away from that so consider yourself warned.
This film is kind of like Enzo Castellari's Street Law, but not quite as good. Henry Silva always makes a great killing machine, but lacks a little of emotion as a grieving father. Plus, he isn't really let off the leash until the end of the film. I can see that Lenzi was aiming for something with a bit more characterization here, but both his and Silva's strengths lie in all out action.
