In the murderous midst of confrontationally bloody, bullet-shredded milieu of the Poliziotteschi's cathartically violent heyday, assured film-maker Vittorio 'Savage Three' Salerno helms one of the Gung ho genre's more overtly damning, aggressively political works in his slipknot taut thriller 'No, The Case is Happily Resolved' wherein blameless, if somewhat aimless proletariat Fabio Santamaria whilst on one of his frequent fishing excursions, disbelievingly observes the uncomfortably frenzied bludgeoning of a terrified young woman by one of 'polite' societies finest, the highly regarded scholar Ranieri (Riccardo Cucciolla),suddenly riven in disorientating panic, the massively distraught Fabio, acting in a moment of grievous ill judgement, he fails to immediately report the heinous crime, thereby inadvertently allowing the coldly Machiavellian, middle-class assassin to effectively manipulate the desperate situation to his favour, his lofty position of immense privilege, ostensibly being a 'person of merit', one of the vaunted financial and hierarchical elite, he is thusly able to generously weigh the mutable scales of justice to his benefit, the iniquities of the class system callously corrupted to actively work against the entirely innocent, increasingly paranoid Fabio! Salerno's excitingly plotted, Kafkaesque crime thriller has a palpably nightmarish quality, strongly redolent of master film-maker Damiano Damiani's equally enervating 'I am Afraid' (1978). With its excruciatingly maintained tension, breathlessly circuitous narrative, this exemplary Euro-crime classic has lost none of its vitriol, and with the process of law no less corrupt, Vittorio Salerno's remarkably deep, immaculately acted, sinuously directed, flint-edged masterpiece remains sadly entirely relevant today, and this pristine Blu-ray restoration is an absolute revelation, and a demonstrative must-see for avid Euro-cult enthusiasts and casual crime film fans alike, and, once again, maestro Riz Ortolani creates another sublime score.

An man witnesses a murder. The murderer himself sees him and chases after him, but he manages to shake the assassin off and get home. What ensues is a psychological tug-of-war between the eyewitness and the killer.

Riccardo Cucciolla plays a reputable, yet troubled professor who commits a heinous and wanton murder, killing a young prostitute. Enzo Cerusico is a low level clerk, married with a child, who's not strong-willed enough to inform the police right away about the killing.

He then gets caught in a web of lies... will he be able to get out of it? A curious, experienced journalist, portrayed by Enrico Maria Salerno, chimes in to shed some light.

That's an unsung gem of Italian Seventies. The film is shot in such a way that holds you glued to the screen till the end.

While fishing at a quiet lake, a blameless civil servant happens to witness a murder. Although he and the killer suddenly stand in front of each other, the witness (Signore Santamaria) manages to escape. At home, however, he decides not to call police, assuming that he won't be bothered by the incident any further. The murderer, on the other hand, plays his only card: He goes to police, claiming that he is in fact the witness and the Santamaria the killer. Following the honorable professors description, police go on a hunt, forcing the real witness to destroy all "evidence". As journalists write about the "witness", Santamaria confronts the killer, only to learn that the truth has been turned around: The professor tells him to keep his mouth shut, otherwise he – Santamaria – will be the one to end up in jail. Still, after speaking to a priest, the witness finally confesses to police, only to be arrested and sentenced to 24 years of prison. - In a manner that sometimes looks a bit humorist, this rarely seen picture portrays the witnesses' fear of being confronted with any trouble. In his attempt to live on with his unvaried life, he wants to avoid uneasiness at any cost. The killer is shown as a cold blooded intellectual capable of deceiving everyone of his false innocence. From a psychological point of view, the characters are to one-dimensional, and the build-up of the story leaves many (plot) holes to be filled. Then again, it's a quite an entertaining film. Although the political message is no very strongly displayed, this one still has the special aura Italian "political" films used to have back in that era.