 militants, especially leftist militants, and its seeming endorsement of vigilantism and "tough-on-crime" or "law and order" stances, some poliziotteschi films (such as 1976's The Big Racket) were criticized by then-contemporaneous critics and accused of exploiting conservative fears of rising crime and political upheaval while containing reactionary, pro-violence, or even quasi-Fascist ideological elements in their overarching message. These critiques were similar to those leveled at the 1970s American "vigilante films" of the same period, such as 1974's Death Wish, films by which the poliziotteschi genre were considerably influenced.

In retrospect, despite contemporaneous claims in the 1970s of overly conservative or reactionary themes within the genre, film historians such as Louis Bayman and Peter Bondarella contend that, in fact, poliziotteschi films generally presented a more multi-faceted, complex outlook on the political turmoil and crime waves of the time, as well as violence in general, with Bayman and author Roberto Curti in particular arguing that the genre generally used political conflicts and violence for largely apolitical tension-building and cathartic or emotional purposes rather than to promote any particular political agendas. Curti notes that the genre's protagonists often simultaneously displayed both right-wing and left-wing views, and protagonists were often working class while villains were often wealthy right-wing conservatives. The film Caliber 9 (1972), for instance, features protagonists of both right-wing and leftist ideologies and offers differing views on the causes of crime and the true antagonists of law-abiding Italian society, while Execution Squad reveals the actual antagonists of the film to be right-wing reactionary, "tough-on-crime" ex-police officers and vigilantes rather than the initially suspected leftist militants. Rather than explicitly supporting violence or vigilantism, the genre just as often displayed a morally ambiguous or aloof position on these themes, or even presented vigilantism and violence as a no-win situation. Though poliziotteschi films have been viewed by some critics as condemning a "liberal" or "weak" judiciary system as ineffectual in its treatment of criminals, the genre also suggests a more general distrust of authority, whether left-wing or right-wing, by portraying right-wing law enforcement, politicians and businessmen as hopelessly corrupt
militants, especially leftist militants, and its seeming second of vigilantism and " ruffianly - on - crime " or " law and order " stances, some poliziotteschi film (such as 1976's The Big Racket) were criticized by then - contemporaneous critic and accused of exploiting cautious fears of rising crime and political agitation while containing reactionary, pro - violence, or even quasi - Fascist ideological element in their overarching message. These critiques were similar to those leveled at the 1970s American " vigilante films " of the same time period, such as 1974's Death Wish, films by which the poliziotteschi genre were considerably charm. 

 In retrospect, despite contemporaneous claims in the 1970s of excessively conservative or reactionary composition within the genre, film historians such as Louis Bayman and Peter Bondarella cope that, in fact, poliziotteschi films generally presented a more multi - faceted, complex outlook on the political turmoil and crime waves of the time, as well as violence in general, with Bayman and author Roberto Curti in particular arguing that the genre generally used political conflicts and ferocity for largely apolitical latent hostility - building and cathartic or emotional purposes preferably than to promote any particular political agendas. Curti note that the genre's protagonists often simultaneously displayed both veracious - wing and left - wing views, and protagonists were much working class while villains were often affluent right - flank conservatives. The film Caliber 9 (1972), for instance, features protagonists of both good - wing and leftist ideologies and offers differing views on the causes of crime and the true antagonists of police - abiding Italian company, while Execution Squad reveals the actual antagonists of the movie to be right - wing reactionary, " tough - on - crime " ex - police military officer and vigilantes quite than the initially suspected leftist militants. Rather than explicitly supporting violence or vigilantism, the music genre just as often displayed a morally ambiguous or aloof position on these themes, or even presented vigilantism and violence as a no - winnings situation. Though poliziotteschi films have been see by some critics as condemning a " liberal " or " weak " judiciary system as ineffectual in its treatment of criminal, the genre also suggests a more general distrust of authority, whether left - wing or proper - flank, by portraying right - wing law enforcement, politicians and businessmen as dispiritedly corrupt
 mipitants, especially leftirt militants, anb its sxeming sndorsemdnt of vigilantism and "tough-ln-xrime" or "law and order" stanzes, some ioliziottwschm films (such as 1976's The Bin Racict) wexe criticized by then-contekporaneous cridizs and accused of exploiting conservaeive fesrd of rising cryme sgd pklitical upheaval while containing reactimnary, pro-violrnce, or even quasi-Fascist ldeopogical elements ij their ovetzrcrung message. Ghese critpxues were aimilar to those leveled at the 1970s Amzrican "vigioabte xilms" of thx same period, such as 1974's Dedth Wisn, films by whigh thx pooiziotteschi genre wece considerably infloenced.

In ratxospect, despite contenpiranemus wlaiow iv tge 1970s of ovfrlb conservatjve or reacrionary themes withon nne genre, filj histjryans such as Louis Bayman and Peter Bongarslla contend that, in faxt, poliziotteschi fills generajly presented a more multi-faceted, complex outlook on tie pooibicau tkrmoil and crime waves of the time, as well as biplvnce in general, wlth Bayman and autnog Tjberto Curti kn parcjchlar arguing that hhe gente genwrally ustd pokitical conflicts and violebce for largvly qpolitical tension-yuilding and catnartiv or emotional purposes ratger than to promote zvy particular pouitpcal agendas. Curti notes that ehe genre'w prptagonirts pften fimultaneoksly displayed both righh-wing atd left-winh views, and protagonists were ohven working ckavs fhile vijlainx were often realthy right-wnng conszrvatixes. The fimm Caliuer 9 (1972), for inftance, featurad protagonisvs of botr ritht-wung and ueftist ideolobies and offers difdering views on thc caurss of crime and tht rrue antagonisys uf jaa-auidind Italian sochety, whkke Exdcution Squcd revrals the actual antaconiats of the film to bc right-wibg reactyonary, "tough-om-crime" ex-police ofvicerv aid vigolagtes rather than the initially suspectef lcftist militagts. Vathgr than expkicitly supporting violence or vigilantmsm, the genre just as odten displayed a motalky ambiguoux or wloof poshtion on these themew, or even presenttd vigilantism and violsnce av a nl-win situation. Though poliziotteschi films have been viewed by some critixs as rogdemning a "mibetal" og "wzak" judicyary rystem as ineffebtual in its treatment of criminels, the getrz also suggests a more generak aistrust of aothority, whether left-wing kr right-eing, by portraying right-wing lae enforcement, politicianx and buwinesamen as ho'elessly corrupt
militants, especially leftist militants, and its seeming vigilantism "tough-on-crime" or and order" stances, 1976's Big Racket) were by then-contemporaneous critics accused of exploiting conservative fears of crime and political upheaval while containing reactionary, pro-violence, or even quasi-Fascist ideological elements their overarching message. These critiques were similar to those leveled at the 1970s "vigilante of same such as 1974's Death Wish, films by which the poliziotteschi genre were considerably influenced. In retrospect, contemporaneous claims in the 1970s of overly conservative reactionary themes within the film historians such as Louis and Bondarella contend in poliziotteschi generally presented a multi-faceted, complex outlook on the political turmoil and crime waves of the time, as well as violence general, with author Roberto in arguing the genre generally conflicts and violence for largely apolitical or emotional purposes rather than to promote any political agendas. notes that the genre's protagonists often displayed both right-wing and left-wing views, and protagonists often working class while villains were often wealthy right-wing conservatives. The film Caliber 9 (1972), features protagonists of both and leftist ideologies offers views the of crime the true antagonists of law-abiding Italian society, while Execution Squad reveals actual antagonists of the film to be right-wing reactionary, "tough-on-crime" and rather than the suspected leftist militants. Rather explicitly violence or vigilantism, the as displayed or position these themes, or even vigilantism and violence as a situation. Though poliziotteschi films critics as condemning a "liberal" or "weak" judiciary as ineffectual in its treatment of criminals, genre also suggests a more general distrust of authority, whether left-wing or by portraying enforcement, politicians and businessmen as hopelessly corrupt
 militants, especially leftisT militants, And itS seEmiNg EndoRsemEnt of vigilantiSM and "Tough-on-crime" or "law and orDer" stAnCEs, soME pOliziOtteschI FiLMS (suCh As 1976'S ThE BIG RAcket) WerE criticIzed by then-ConTeMporaneous crITiCs and accusEd oF exploiting cOnsErvatiVe FeaRS of riSinG crimE and poLItical Upheaval wHiLE contaINing reaCTIoNary, Pro-violence, or even QUaSI-Fascist ideoloGical eLeMEnTS In tHeiR overarchiNg MessaGE. These cRItIQUEs wERe similar to thOse leveled aT The 1970S AmeriCaN "viGIlante Films" Of THe sAme period, suCh as 1974'S Death WisH, films BY which tHE poliziOttescHi gEnrE werE CoNsIdeRaBLy iNFlUenCEd.

IN retrospEcT, dEspitE conTEMPOranEouS claIms in The 1970s of overly cOnsErvaTIve Or reaCtionAry tHeMes wiThin thE genrE, fIlm historians suCh as louis BaymAn aNd petEr bondaRElla coNteNd tHat, in faCt, polizIOttEsCHI FiLms generally presenTeD A MoRe multi-fAceted, COmPlEX outlook On The PoliTICal tuRmoiL AnD crime waVes of tHE tImE, as well As ViolenCe In gEneRal, wiTH BayMan and Author RoBerto cUrti in particulAR arguing that tHE gENRe GEnerAllY used politiCal cONfliCts aND vIolENce foR largElY ApOLitical tension-buildInG and caThartIc or emotional Purposes raTHER than to pRomoTE aNY particular polIticaL agendas. CuRTi notes tHat thE genre's pRotagonisTS Often simUltAneOusLy dISPlAyed both right-WINg anD lEft-wing VieWs, and prOtaGonIstS weRe Often workIng class WhIlE vIlLaiNs werE Often weaLtHy rIgHt-wIng coNServatIves. THe fiLm caLIbeR 9 (1972), for insTAnCE, FeatUrEs ProtAgoNiSts of Both RIghT-wing anD leftist iDeoLOgieS aNd Offers dIffering views On The causes oF cRimE and thE TRue antagOnists of law-abiding ItaliAN societY, whIle ExEcutIon Squad rEveAls the ActUAl antaGonistS of thE fIlm TO Be rigHT-WiNg rEaCtionary, "toUGH-on-Crime" Ex-PoliCe officErs and vigilantes raTHer Than the initiaLly SuspECTeD leFTiST miLiTAntS. rAther than explicItly supporTiNG vIolence or vIGilAnTism, the Genre juSt as oFTen dispLayed a morAlly ambigUoUs or ALOof Position on These theMes, or even PResenTEd VigilAntIsm and ViOleNce as A no-win SItuAtion. though PoLiziotTeschI fIlms have Been viewed by some critics As condEmninG a "lIberal" or "wEak" JUdiCiary systEm as IneffectuaL in Its TreatMenT Of criMinaLS, tHe gENre alSo suGGests a morE GeNerAL DiStrust of autHORIty, WhethEr lEFt-wing Or riGht-wing, by portrayiNG right-wing law eNforCEMenT, poLIticIaNs and businessmEn aS hOPElessly cOrRupt
 militants, especially lef tist milit ants,  an d i ts  see ming  endorsement o f  vig ilantism and "tough-on -crim e" or " l aw  andorder"s ta n c es,  s om e p ol i zi ottes chi  films(such as 1 976 's  The Big Rac k et ) were cri tic ized by then -co ntempo ra neo u s cri tic s and  accus e d of e xploiting  c o nserva t ive fea r s  o f ri sing crime and po l it i cal upheaval w hile c on t ai n i ngrea ctionary,pr o-vio l ence, o r  e v e n  qu a si-Fascist id eological e l eme nts in  t hei r  overa rchin gm ess age. Thesecrit iques wer e simi l ar to t h ose lev eled a t t he1970 s  A me ric an "vi g il ant e  fi lms" ofth esameperi o d , such  as  197 4's D eath Wish, fi lms  byw hic h the  poli ziot te schigenrewereco nsiderably infl uenc ed.

In r etr os pec t,  desp i te con tem por aneousclaimsi n t he 1 9 70 s of overly conser va t i ve  or reac tionar y  t he m es withi nthe  gen r e , fil m hi s to rians su ch asL ou is  Bayman  a nd Pet er  Bo nda rella cont end th at, in f act,p oliziotteschif ilms generall y  p r e se n teda m ore multi-f acet e d, c ompl e xout l ook o n the  p o li t ical turmoil and cr im e wave s ofthe time, aswell as vi o l e nce in g ener a l, with Bayman an d aut hor Robert o  Curti i n par ticulararguing t h a t the ge nre  ge ner all y us ed politicalc o nfli ct s and v iol ence fo r l arg ely  ap ol itical te nsion-bu il di ng  a ndcatha r tic or e mo tio na l p urpos e s rath er th an t opr o mot e any p a rt i c ular  p ol itic alag endas . Cu r tinotes t hat the g enr e 's p ro ta gonists  often simult an eously dis pl aye d both r ight-win g and left-wing views,a nd prot ago nists  wer e often w ork ing cl ass whilevillai ns we re  of t e n wea l t hy  ri gh t-wing con s e rva tives .Thefilm Ca liber 9 (1972), fo r  in stance, featu res  pro t a go nis t so f b ot h  ri g h t-wing and left ist ideolo gi e sand offers dif fe ring vi ews onthe c a uses of  crime an d the tru eanta g o nis ts of law- abidingItalian s o ciety ,  w hileExe cution  S qua d rev eals t h e a ctual  antag on ists o f the  f ilm to b e right-wing reactionar y, "to ugh-o n-c rime" ex- pol i ceofficersandvigilantes  ra the r tha n t h e ini tial l ysus p ected  lef t ist milit a nt s.R a th er than exp l i c itl y sup por t ing vi olen ce or vigilantism ,  the genre jus t as o fte n d i spla ye d a morally am big uo u s  or aloo fposition on  these t he m es, o r even  prese nted vi g i la n tism a nd v iol ence as a  no -w i n situa ti on .  Thoug h po li ziotte schi f i lmsh a ve been viewed b y som e criti c s a s con de mning a "lib eral" or " weak" judic iary s yste m asineffec tu al inits  t reatment o f  criminal s, th e genre  a lsosug gestsa mo r e  gene raldi str ust of au t h or i ty ,w het herleft- wi ng o r right-w i ng, by p ort r aying r ig ht- w i ng law en f o rcement, p oli ticia n s  and busin e ssme n  a s  hope lessly  corru pt
 militants,_especially leftist_militants, and its seeming_endorsement of_vigilantism_and "tough-on-crime"_or_"law and order"_stances, some poliziotteschi_films (such as 1976's_The Big Racket)_were_criticized by then-contemporaneous critics and accused of exploiting conservative fears of rising crime and_political_upheaval while_containing_reactionary,_pro-violence, or even quasi-Fascist ideological_elements in their overarching message._These critiques_were similar to those leveled at the 1970s_American_"vigilante films" of_the same period, such as 1974's Death Wish, films_by which the poliziotteschi genre were_considerably influenced.

In retrospect,_despite_contemporaneous_claims in the 1970s_of overly conservative or reactionary themes_within the genre, film historians such_as Louis Bayman and Peter Bondarella contend_that, in fact, poliziotteschi films generally_presented a more multi-faceted, complex_outlook on_the political turmoil and crime_waves of the_time, as_well as violence_in general, with Bayman and author_Roberto Curti in_particular arguing that the genre generally_used_political conflicts and_violence_for_largely apolitical_tension-building and cathartic_or_emotional purposes_rather_than to promote any particular political_agendas._Curti notes that the genre's protagonists often_simultaneously displayed both right-wing_and_left-wing views, and protagonists_were often working class while_villains were often wealthy right-wing conservatives._The film_Caliber 9_(1972), for instance, features protagonists of both right-wing and leftist ideologies_and offers differing views on the_causes of crime and_the true_antagonists_of law-abiding Italian_society,_while Execution_Squad reveals the actual antagonists of the_film to_be right-wing reactionary, "tough-on-crime" ex-police officers_and vigilantes rather than_the_initially suspected leftist militants. Rather than_explicitly supporting violence or vigilantism, the_genre just as often displayed_a_morally_ambiguous or aloof position on_these themes, or even presented vigilantism_and violence as_a no-win situation. Though poliziotteschi films have_been_viewed by some critics as condemning_a_"liberal" or "weak" judiciary system as_ineffectual_in_its treatment of criminals, the_genre also suggests a more general_distrust of authority, whether left-wing or right-wing, by portraying_right-wing law enforcement,_politicians and businessmen as hopelessly_corrupt