One thing I've found really helpful when watching these films is to take a little time to brush up on Italy's historical context; the 70's were an absolutley chaotic time there, you'd have bombs going off all over the place and no idea whether they were being planted by the mob, leftist terrorists, neo-fascist terrorists or the italian secret service itself. Crime rates going through the roof, political corruption and instability, the CIA getting mixed in...it partly explains the desperate, paranoid mood that these movies convey.
Originally Posted by Phil
Today was Milano Calibro 9, available in the States as part of a 10-movie collection called Thug city Chronicles. Transfer was better than I expected, the sound is for shit.
Great opening sequence, sympathetic, Statham-y protagonist, and a spectacular ending, but the filmmaking on the whole was a bit middling compared to Sollima and Castellari. But I would like to see the Italian language version before writing it off. There's the unfortunate trend of trying to make the dialogue match the lip flap instead of going for accuracy.
Three undeniable charms of the film: Barbara Bouchet's face; Barbara Bouchet's body; Barbara Bouchet's go-go dance. I said goddamn.
Am I mistaken or is the twitchy guy in the opening sequence (linked above somewhere) played by a different actor for the remainder of the film?
Big thanks to Brundleflyboy for pointing me to these films in the first place. I think I'm going after Street Law and Heroin Busters next.
Got this on R2 (the package actually came from Italy, which I got considerably geeked out over), and yeah, the english dubbed version that I accidentally started playing before switching to italian with subtitles seemed like a very bad job. I enjoyed this movie a lot! OUt of the three poliziotteschi films I've seen so far (this, Street Law
) it comes closest to feeling like a straight-up american noir movie - the sympathetic fall guy, the femme fatale, the various twists and backstabbings. Phil is right that Di Leo isn't as visually interesting as Castellari or Solima, but I sorta dug that, too - very no nonsense, meat and potatoes filmmaking, worrying about the plot above all. Gotta give set design props to Bouchet's amazing black and white pad, which is on some post-Point Blank
Godardian ish. And that opening, whoa.
I got a lot of laughs out of this, but objectively speaking you can't really justify how the movie grinds to a screeching halt whenever the two cops start talking, though. Like Sollima, Di Leo wanted to show his leftist sensibility, but while in Revolver
it becomes an integral part of the movie, here there's no connection or consequence to it whatsoever, it's sort of hilarious.
Still, that's only a few scenes, and the rest of the movie is pretty fucking solid; highly reccomended.
I am now trawling through the extras, which unfortunately are only in italian. Thankfully my portuguese enables me to have a vague idea of what they're talking about, but someone should fansub this stuff!