Though it might have been made in reaction to the international success of “The Sting,” this Italian crime film is really just an entertaining mix of several popular action genres. Colorful, visually arresting and formulaic it is ultimately a superior work for director Sergio Martino. A filmmaker best known for his engrossing Giallo works of the early ‘70’s and a slew of poor horror programmers in the early ‘80’s.

“Gambling City” follows professional card shark Luca (Luc Merenda), who makes a living infiltrating and bilking illegal gambling businesses in Milan. After winning a high stakes game at the ritzy Club 72, he’s confronted by the owner - a crime lord dubbed “The President” (Enrico Maria Salerno). He gives the handsome swindler an offer to work in the casino, winning games for the house and splitting the spoils. Luca accepts the offer, more like a demand, and begins a successful career at the private club. One night at the casino he makes eye contact with a beautiful woman named Maria (model Dayle Haddon) who appears to be in an abusive relationship with another gambler. Luca learns that the woman is the girlfriend of Corrado, the unstable son of “The President” and that flirting with her could be big trouble. Being a “professional cheat since the age of ten,” Luca decides to pursue the young woman and begins an affair that jeopardizes both their lives.

It’s hard to believe that this beautifully shot crime drama was directed by Italian cult favorite Martino. The same man responsible for “Slave of the Cannibal God, “Screamers” and “The Great Alligator.” “Gambling City” was made a few years before those infamous titles and certainly makes one wonder what exactly happened to Mr. Martino’s career. While “Slave” does have certain debatable charms, both “Screamers” and “Alligator” are virtually unwatchable – at least in their American forms. Martino’s filmography spans four decades and is, to say the least, eclectic. The story line (attributed to Martino and Ernesto Gastaldi) is rather conventional and adds few new wrinkles to the crime drama formula. In spite of this it manages to be a fairly intriguing film, thanks in large part to the arresting camera work. Martino and cinematographer Giancarlo Ferrando involve the viewer with clever composition and a fluid lense. Much of the nuance and immediacy of the simple narrative is propelled by the cinematography; beautifully restored from the original vault negative. The ubiquitous car chase at the climax is especially well shot. Refreshingly free from any rear projection (or CG) enhancement, it ranks right alongside Owen Roizman’s work in “French Connection.” Ferrando’s resume is just as eclectic as Martino’s, partnering with the director on both “Slave” and “Alligator” as well as Lamberto Bava for the fascinatingly awful “Devil Fish.” Again the query must be posed, ‘what happened to the artists responsible for this great piece of Italian pop art?’ The liner notes in this DVD release touch upon the declining popularity of certain genres in the ‘70’s, but don’t offer much of a critical eye regarding the various filmographies listed. It’s a shame that such promise was never fully realized from either artist. Just as strong as the cinematography is the wonderful score by Luciano Michelini which is part whimsical piano parlor music (ala “The Sting”) and part groovy black exploitation. It’s an unexpected mix of styles and gives “City” a playful, unique tone.

Martino has assembled a strong cast including Merenda as the charismatic card shark. The actor, a popular Italian action star for several years, was also in the director’s superior Giallo “Torso.” His subtle, boyish portrayal of the grifter meshes well with his icy co-star Haddon. They have a strong chemistry that helps immensely in defining their underwritten roles. Salerno, aged to look several years older, is great as the crime boss and gives the drama an added credibility. The DVD is dedicated to late cast member Pani who plays the Salerno’s unhinged son. Pani is appropriately over-the-top as the primary bad guy in “City” and delivers the necessary ugliness required in a typical crime film villain.

This is a great DVD release from No Shame Films. The quality of the print itself is pristine; remastered in high definition from the original negative. The picture and sound clarity are outstanding for an Italian genre title over 30 years old. So much of the narrative relies on its widescreen mise-en-scene, it is inconceivable ever viewing the film without its proper aspect ratio. The extras are plentiful and were clearly created out of great reverence for this obscure film. A 20-minute film “Chatting with the Cheaters” offers some candid commentary from Martino, Ferrando and Merenda. Each is interviewed separately and allowed a few minutes to reflect on their contribution. Evidently there was a falling out between the director and star at some point. It’s a shame there wasn’t more time to delve into their curious working relationship. There is also an audio commentary with Merenda, the Italian theatrical trailer, a poster gallery and an informative booklet.

No Shame Films is also putting together a special edition of Martino’s “The Great Alligator” later this year. Is it possible they know something that a brave few in America might have missed? Maybe in an uncut, spruced-up form there might be some forgotten classic hidden away; butchered beyond recognition in America by a shoddy distributor. If that much-maligned Barbara Bach headliner is treated with half the respect of “City,” it might be worth revisiting. It also might require further re-evaluation of Martino’s colorful career.