Masks help our kidnappers make a dramatic entrance (above) but viewers may consider it a waste for Rada Rassimov (below) to keep her mask on for much of the rest of the picture.
If Kidnap isn't really a cop film, it isn't really a mob film, either. Nor is it much of a kidnapping movie, since we learn nothing about the Professor's motives or anything else to make him an interesting villain, and we never get a strong sense of the child's peril until the speedboat chase. None of the characters is very deeply developed, though Silva and Ferzetti get some nice, sociable ball-busting scenes together. A prostitute who witnessed the kidnapping (Lia Tanzi) is set up as a pivotal character -- largely ignored by Caprile but intimidated into cooperating with Salvatore, she stumbles upon a crucial clue twice over in a big coincidence -- but gets forgotten by the film once her specific plot function is over. As far as Fago is concerned, Tanzi's main function may have been to perform the obligatory topless scene. He directs with little emotion or engagement, draining the film of most of its dramatic or exploitative potential. At the climax, you do wonder whether he'll go all the way and kill the child, but the action footage shot on the water comes out misty and smeary.
Kidnap isn't an outright bad film -- Silva makes the most of his limited role, the other actors don't embarrass themselves, and there's a good score by Piero Piccioni -- but it's the sort of movie that leaves you asking, "Is that it?" after 99 minutes. I expected plot twists, like the exposure of secret collaborators with the kidnappers, that never arrived, and the story had nothing unique to say or show us about cops, crooks or kidnappers. Unfortunately, that is it.