During the 1960s, Luciano Lutring became infamous for committing over one hundred armed robberies, spanning Italy and the French Riviera. His criminal exploits captured the attention of the media, who quickly dubbed him the “machine gun soloist” due to his penchant for carrying a weapon hidden in a violin case, an image that became symbolic of his daring and elusive persona. Lutring’s approach to crime was carefully calculated; he selectively targeted wealthy individuals, which, combined with his charm, helped to foster a public image of him as a kind of modern-day Robin Hood. The public romanticized him, viewing him as a figure of rebellion who only stole from the affluent, amassing over 35 billion lire in stolen money throughout his criminal career. His notoriety reached such heights that his name became synonymous with both danger and allure.
The release of Wake Up and Kill in 1966 was the logical extension of this media-fueled fame. The film, which dramatized Lutring’s story, became the first feature to chronicle his life of crime. Shooting began only months after Lutring’s eventual arrest, capitalizing on the public’s continued fascination with his daring exploits. The film’s production was clearly in response to the public’s insatiable interest in his criminal career and the rise of the “antihero” figure in popular culture. The timing of the film allowed it to tap directly into this cultural moment, serving as both a reflection of and a commentary on the sensationalism surrounding real-life criminals of the era.
The casting of Robert Hoffmann, who had gained fame for his role in the successful French television series The Adventures of Robinson Crusoe, was a strategic move to capitalize on his rising popularity. Hoffmann’s portrayal of Lutring was charismatic and captivating, bringing just the right mix of youthful exuberance, charm, and intensity to the role. His performance helped to solidify Lutring’s status as both a criminal mastermind and a figure imbued with a sense of romanticism and tragedy. Hoffmann’s natural charisma made him a perfect fit for the role of the infamous robber, adding layers of complexity to the character.
Wake Up and Kill was directed by Carlo Lizzani, who was already known for his work on films like Requiescant. Lizzani brought his signature style to the film, carefully crafting a narrative that explored the psychology of Lutring while also delving into the broader themes of justice, crime, and morality. The film’s screenplay was penned by the talented screenwriter Ugo Pirro, who would later achieve recognition for his work on Investigation of a Citizen Above Suspicion, and it features Gian Maria Volonté, a notable actor from Investigation as well, in a significant supporting role. Volonté’s presence added an additional layer of gravitas to the film, cementing its ties to the growing Italian crime film movement.
The film’s score, composed by Ennio Morricone, was an integral part of its success. Morricone’s music, with its moody, haunting melodies, perfectly complemented the film’s dark and gritty atmosphere. His composition was a key element in amplifying the tension and emotional weight of the narrative, enhancing the viewing experience and cementing his role as one of the most influential composers in the world of cinema.
Wake Up and Kill isn’t just a film about a notorious criminal; it serves as an early example of the true-crime genre blending with the emerging polizieschi genre—a style of Italian crime films that became popular in the late 1960s and 1970s. These films, characterized by their gritty realism, nihilistic view of justice, and exploration of corruption within the police force, found an early form in Wake Up and Kill. The film’s gritty portrayal of the criminal underworld, its disillusioned protagonists, and the blurred lines between good and evil foreshadowed the themes and style that would define the poliziotteschi films that followed.
The film’s legacy as a precursor to the polizieschi genre is notable. It laid the groundwork for the intense, morally complex crime dramas that would take hold in Italian cinema in the years to come. Movies like The Italian Job (1969), Rome Armed to the Teeth (1976), and The Big Racket (1976) all owe a debt to the narrative style, pacing, and characterization of Wake Up and Kill. The film, therefore, stands not just as a fascinating biographical recounting of Lutring’s crimes, but also as a key moment in the evolution of Italian crime cinema.
While the film was well-received by critics for its gripping story, strong performances, and effective direction, it also elicited some criticism. Some viewers found the film’s pacing slow, particularly in the buildup to major action sequences, and the portrayal of Lutring’s life was seen by some as overly romanticized. However, many appreciated the film’s focus on the psychological aspect of crime, highlighting Lutring’s inner turmoil and moral conflict, rather than simply glorifying his criminal acts. The combination of true-crime elements with psychological depth made Wake Up and Kill stand out as a more introspective exploration of the criminal psyche, rather than just a sensationalized recounting of a notorious figure’s life.
In conclusion, Wake Up and Kill is an essential film in the history of Italian cinema, both as a true-crime story and as a precursor to the polizieschi genre. Its exploration of the darker side of human nature, its morally ambiguous characters, and its blend of stylish direction and memorable performances ensured its place as a landmark film in the Italian crime genre. The film not only brought Luciano Lutring’s notorious career to the silver screen but also helped shape the trajectory of Italian crime filmmaking in the years that followed.
