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Poliziotteschi (pronounced [polittsjotˈteski]; singular poliziottesco) constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s. They are also known as polizieschi all'italiana, Euro-crime, Italo-crime, spaghetti crime films, or simply Italian crime films. Influenced by both 1970s French crime films and gritty 1960s and 1970s American cop films and vigilante films, poliziotteschi films were made amidst an atmosphere of socio-political turmoil in Italy known as Years of Lead and increasing Italian crime rates. The films generally featured graphic and brutal violence, organized crime, car chases, vigilantism, heists, gunfights, and corruption up to the highest levels. The protagonists were generally tough working class loners, willing to act outside a corrupt or overly bureaucratic system.
A lot of critics, both when Billy Jack was originally released, and more recently, have criticized the movie for trying to have it both ways: giving us lectures about pacifism, yet at the same time giving us the gratification of seeing Billy beat up the bad guys. But this seems to me to be an unfair criticism, since again the movie explicitly sets up a kind of dialectic between pacifism (argued for mostly by Jean) and vigilante revenge (which motivates Billy). Billy keeps on saying that he is trying to be a pacifist, but not succeeding, and feeling guilty as a result. And then there is the moment during the siege of the building where Billy is making his last stand. Billy tells Jean that she has a peaceful soul, in contrast to his anguished and violent one. But Jean responds that this is a load of crap. She has no equanimity or acceptance of having been raped; she says that she has been fantasizing continually about making Bernard pay for what he did. But she held back, she says, because her taking revenge would ultimately harm the young people in the school, and their welfare is her biggest responsibility. 2b1af7f3a8