Second part of the ¨Perros Callejeros¨ trilogy by Jose Antonio De La Loma , the authentic creator of the Quinqui sub-genre . This middling ¨Quinqui¨ movie deals with Ángel Fernández Franco , alias ¨El Torete¨, it tells his life like a legend , executing heists , ¨Tirones¨ and other crimes and misdemeanours . In the flick there is frenetic action , eroticism , chases , exploitation and sensationalism that undermine verisimilitude . The film begins with the same ¨Torete¨ (Angel Fernandez) watching ¨Perros Callejeros I¨ at a private exhibition along with the filmmaker (played by Fernando Almada) . Become a star , thanks to the successful first film , he again goes on his criminal career , being accused for collaboration in a killing committed by El Vaquilla (Bernard Seray) when driving he ran and hit a woman . Meanwhile , ¨Torete¨ falls in love for a beautiful girl (Verónica Miriel) and , subsequently , for a young prostitute (Teresa Jimenez) . Later on , a cripple as well as revengeful cop seeks vengeance against Torete . As , Angel Fernández Franco , El Torete¨ , is detained , imprisoned and locked in Modelo penitentiary of Barcelona where a riot takes place .
¨Perros Callejeros I ¨ was a popular and big Spanish hit , that's why director De La Loma made this sequel enhancing the customary ingredients that got again a hit smash , such as noisy action , hold-ups , car races , stabbing , pursuits and nudism . Furthermore , it increases scenarios , erotic situations , and budget , but these aspects do't get better the film's quality . Including some very crude images as when the police's daughter is abducted and mistreated ; showing brutal rape frames as female as male . This is one of several movies dealing with youth delinquency in Spain during the 70s and early 80s mostly realized by Jose Antonio De La Loma , along with ¨Navajeros , "Colegas", "El Pico 1¨ , 2" , ¨La Estanquera De Vallecas¨ by Eloy De La Iglesia and especially ¨Deprisa , Deprisa¨ by Carlos Saura , among others . The screenplay by the same Jose Antonio De La Loma is such strong with disagreeable events , including nudism , violent scenes , though also with some ingenuousness and brief ironical moments . Jose Antonio De La Loma chose young and natural actors as Angel Fernandez Franco and Bernard Seray who play their part to the hilt , unafraid of filmmaker's unsympathetic camera and the particularity of the characters . Here appear gorgeous women as Verónica Miriel who had an acceptable career and interpreting some erotic films , Teresa Jimenez who acted in ¨Perras Callejeras ¨ and Isabel Mestres who in ¨Perros Callejeros III¨ performed a journalist . And it shows up real delinquents with peculiar names and nicknames such as : El Chino¨, ¨El Pijo¨, ¨Caracol¨ , ¨El Trompeta¨, among others .
Atmospheric musical score including ordinary disco-music of the 70s , adding usual scenarios and dancing from Discoteques . Regular photography with juicy atmosphere by Juan Gelpi , but unfortunately turns too much murky in some video print , being necessary a perfect remastering . Juan Gelpi photographed various De La Loma's films such as : ¨Squadron , Counterforce¨ , ¨Nuca En Horas De Clase¨ and being Antonio Isasi Isasmendi's habitual cameraman as ¨Verano Para Matar¨, ¨Aire De Un Crimen¨, ¨Vegas 500 Millones¨ , ¨El Perro¨ and ¨Estambul 65¨. Shot by the creator of ¨Quinqui sub-genre¨ , the veteran and prolific Jose Antonio De La Loma , in his usual botcher style , plenty of extreme sensationalism and exploitation , who filmed the successful trilogy : ¨Perros Callejeros I , II¨ and ¨Ultimos Golpes Del Torete¨ and he even made a female version : ¨Perras Callejeras¨ . In his youthful De La Loma worked as a teacher in the Chinese barrio of Barcelona and he lived poorness and isolation . As he hired true delinquents who used their peculiar slang and particular behaves , all of them give a certain realism to these offbeat films . The motion picture was regularly directed by Juan Antonio De La Loma who had a long career including titles as a writer and a filmmaker in all kinds of genres , as Western : ¨Professional for a massacre¨ ,¨Texas Kid¨ ,¨Clint the solitary¨ , ¨Return of Clint¨, ¨The last Mohican¨, ¨Seven pistols for Timothy¨ , ¨Viva Carrancho¨, ¨The Boldest job in the West¨, ¨Blood at sundown¨or ¨Porque Seguir Matando¨ and Action : ¨Metralleta Stein¨ , ¨Razzia¨ , ¨Explosion¨ , Squadron: Counterforce¨or "Playing with Death" , ¨Goma 2¨ , ¨Tony Carrera¨, "Playboy to Kill" and several others .
¨Perros Callejeros I ¨ was a popular and big Spanish hit , that's why director De La Loma made this sequel enhancing the customary ingredients that got again a hit smash , such as noisy action , hold-ups , car races , stabbing , pursuits and nudism . Furthermore , it increases scenarios , erotic situations , and budget , but these aspects do't get better the film's quality . Including some very crude images as when the police's daughter is abducted and mistreated ; showing brutal rape frames as female as male . This is one of several movies dealing with youth delinquency in Spain during the 70s and early 80s mostly realized by Jose Antonio De La Loma , along with ¨Navajeros , "Colegas", "El Pico 1¨ , 2" , ¨La Estanquera De Vallecas¨ by Eloy De La Iglesia and especially ¨Deprisa , Deprisa¨ by Carlos Saura , among others . The screenplay by the same Jose Antonio De La Loma is such strong with disagreeable events , including nudism , violent scenes , though also with some ingenuousness and brief ironical moments . Jose Antonio De La Loma chose young and natural actors as Angel Fernandez Franco and Bernard Seray who play their part to the hilt , unafraid of filmmaker's unsympathetic camera and the particularity of the characters . Here appear gorgeous women as Verónica Miriel who had an acceptable career and interpreting some erotic films , Teresa Jimenez who acted in ¨Perras Callejeras ¨ and Isabel Mestres who in ¨Perros Callejeros III¨ performed a journalist . And it shows up real delinquents with peculiar names and nicknames such as : El Chino¨, ¨El Pijo¨, ¨Caracol¨ , ¨El Trompeta¨, among others .
Atmospheric musical score including ordinary disco-music of the 70s , adding usual scenarios and dancing from Discoteques . Regular photography with juicy atmosphere by Juan Gelpi , but unfortunately turns too much murky in some video print , being necessary a perfect remastering . Juan Gelpi photographed various De La Loma's films such as : ¨Squadron , Counterforce¨ , ¨Nuca En Horas De Clase¨ and being Antonio Isasi Isasmendi's habitual cameraman as ¨Verano Para Matar¨, ¨Aire De Un Crimen¨, ¨Vegas 500 Millones¨ , ¨El Perro¨ and ¨Estambul 65¨. Shot by the creator of ¨Quinqui sub-genre¨ , the veteran and prolific Jose Antonio De La Loma , in his usual botcher style , plenty of extreme sensationalism and exploitation , who filmed the successful trilogy : ¨Perros Callejeros I , II¨ and ¨Ultimos Golpes Del Torete¨ and he even made a female version : ¨Perras Callejeras¨ . In his youthful De La Loma worked as a teacher in the Chinese barrio of Barcelona and he lived poorness and isolation . As he hired true delinquents who used their peculiar slang and particular behaves , all of them give a certain realism to these offbeat films . The motion picture was regularly directed by Juan Antonio De La Loma who had a long career including titles as a writer and a filmmaker in all kinds of genres , as Western : ¨Professional for a massacre¨ ,¨Texas Kid¨ ,¨Clint the solitary¨ , ¨Return of Clint¨, ¨The last Mohican¨, ¨Seven pistols for Timothy¨ , ¨Viva Carrancho¨, ¨The Boldest job in the West¨, ¨Blood at sundown¨or ¨Porque Seguir Matando¨ and Action : ¨Metralleta Stein¨ , ¨Razzia¨ , ¨Explosion¨ , Squadron: Counterforce¨or "Playing with Death" , ¨Goma 2¨ , ¨Tony Carrera¨, "Playboy to Kill" and several others .