Italian vigilante films, a film genre in which the protagonist or protagonists engage in vigilante behavior, taking the law into their own hands. Vigilante films are usually revenge films in which the legal system fails protagonists, leading them to become vigilantes.

These films are almost always filmed fully within the male gaze, with a beautiful foreign actress as the central woman. This character will be wife, victim or treacherous villain, but never an equal sidekick or a vigilante who propels the story herself. Women are the mothers and wives to be saved in the patriarchal society built on the madonna/whore binary, and this is of course reflected in such a macho genre.

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Poliziotteschi directors and screenwriters like Umberto Lenzi, Sergio, and screenwriter Dardano Sacchetti have categorically refuted the fascist label. Carlo Lizzani, auteur film director with his seminal Violent Four/Banditi di Milano, was a partisan in the Resistance and member of Communist Party (PCI). Sergio Sollima, who directed Violent City (1970, co-written by Lina Wertmller) and Revolver (1973), was also an anti-fascist partisan. Sergio Corbucci definitely wove anti-fascism messages into his vigilante spaghetti westerns such as Django (1966).

The vigilante subgenre sprouted from a multitude of genres that spawned many more. As universal as the themes of revenge and violence may be, Italians seem to have latched on to it as subject matter as fiercely as the grip of a poliziotteschi stuntman on the roof of an Alfa Romeo in a death-defying car chase. This can be attributed to many factors: the political past, holes in the fabric of civil society, and the all-important cultural presence of family. It is a country and a cinema in which virtue and vice are intricately intertwined.

And the same time, the Camorra mafia is pushing harder into the village, with intentions of driving out locals to make room for hotels and casinos. They make a small army of designer-dressed, tattoo-covered thugs, and they descend on the village, unaware of the lurking elite vigilante quietly sipping tea across the street from their shakedowns or eating pasta at the next table.

On March 12, 1895, Vittani, Ronchetto, Giacabino, and Zapetto appeared in court in the nearby town of Rouse. That evening, they began their return to the jail in Walsenburg accompanied by Sheriff Earl Danford and Marshal Charles Harriman in a wagon driven by Joseph Welsby. Six to eight masked men intercepted them en route. The vigilantes told Welsby to stop the wagon and demanded that Harriman get off of his horse. As Harriman attempted to flee, the men opened fire on the group. First, they hit and killed the wagon driver Joseph Welsby. A bullet grazed Ronchetto. The others escaped and Sheriff Danford was left with the injured Ronchetto, who he returned to the jail in Walsenburg.

The vigilantes eventually followed, intent to finish their act of revenge. When the two guards heard a rap at the prison door, followed by a voice stating that it was the sheriff, they promptly opened the door, only to find masked men with guns drawn. While two of the men watched the guards, two others made their way towards the back of the building where the already-injured Ronchetto had been returned by Sheriff Danford and where Lorenzo had been imprisoned throughout the night. They opened fire on the prisoners, killing Lorenzo first with a shot to the head. Ronchetto was shot multiple times and died twenty minutes later. The bodies of the escaped Vittani, Giacabino, and Zapetto were found in the following days filled with bullets. It is unclear whether the vigilantes had tracked and killed them before or after the shootings at the Walsenburg jail, but the result was the same. All five of the Italian immigrant miners were dead.

Prime Minister Silvio Berlusconi, whose centre right wing coalition was elected on a tough law and order campaign, has insisted that vigilante groups, such as the Italian National Guard, would be simple 'citizen patrols'.

Antoine Fuqua's Equalizer 3," a taut and textured sequel to Washington's vigilante series, isn't one of the actor's best films. It wouldn't crack his top 10. But it vividly encapsulates Washington's formidable on-screen potency. 589ccfa754

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