Slow Sadness

Touch of EvilM Touch 1958

Theaters:  February 1958

Streaming:  October 2000

Rated:  NR

Runtime:  95 minutes

Genre:  Classics – Crime – Drama –  Film Noir – Mystery – Suspense – Thriller

els:  8.5/10

IMDB:  8.1/10

Amazon:  4.4/5 stars

Rotten Tomatoes Critics:  8.9/10

Rotten Tomatoes Audience:  4.2/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards:

Directed by:  Orson Welles

Written by:  Orson Welles (screenplay), Whit Masterson: aka Robert Wade and Bill Miller (book)

Music by:  Henry Mancini

Cast:  Orson Welles, Charlton Heston, Janet Leigh, Marlene Dietrich, Zsa Zsa Gabor

Film Locations:  US

Budget:  $829,000

Worldwide Box Office:  $2,247,465

A man runs through a parking lot in a small Mexican town along the US border carrying a small package, placing it in the trunk of convertible moments before the owner and driver, Rudy Linnekar (Jeffery Green) and his young girlfriend Zita (Joi Lansing) arrive.  With the bomb ticking in the trunk of the car, Linnekar slowly drives through the town, filled with tourists and locals enjoying the cool night, heading for the nearby US border and home.  As they are driving, they pass the strolling newly married couple of Mike Vargas (Heston), a Mexican drug cop, and his American wife Susie (Leigh). The car crosses the border into the US and explodes.

Captain Quinlan (Welles), an obese cop with a bum leg, walking with the aid of a cane, arrives to take over the investigation of bombing. He quickly surmises that Sanchez (Victor Millan), who is secretly married to Rudy Linnekar’s daughter Marcia (Joanna Cook Moore), is the prime suspect.  Quinlan’s partner Pete Menzies (Joseph Calleia) plants incriminating evidence in Sanchez’s apartment and he is arrested. Vargas knows that the evidence against Sanchez was planted and begins to investigate the bombing and Quinlan, while letting his wife spend her honeymoon alone in some cheap deserted hotel in the dry scrublands of the American southwest.

Welles loosely based the movie’s screenplay on a 1956 Red Badge Mystery serial novel, Badge of Evil by Whit Masterson. The crime novel slowly solves the mystery of who killed Rudy Linnekar by blowing up his house with dynamite. The murder is investigated by police officers Hank Quinlan and Leron McCoy along with an assistant district attorney.  The 2 cops quickly make an arrest of Ernest Farnum, who soon commits suicide, even though incriminating dynamite was found in the apartment of Linnekar’s future son-in-law Delmont Shayon.

Whit Masterson is a pseudonym for 2 authors: Robert Allison “Bob” Wade and H. Bill Miller.  The pair, good friends since the age of 12, wrote more than 30 novels in their lifetimes with at least 6 adapted for movies.  Two other well received movies adapted from their books, in addition to this movie, were the 1942 All Through the Night with Humphrey Bogart, and The Yellow Canary starring Pat Boone.

Orson Welles, director, writer, actor, producer, and occasional illusionist was born an entertainer.  Shakespeare and presenting visual interpretations of the classic books were his passions. His colossal talent spanned the stage, radio, and movies, bequeathing an artistic ensemble to the world that increases in stature every year. In 1938, Welles produced, directed, and acted in Caesar, an updated version of Shakespeare’s Julius Caesar. The play was a monumental success. In the same year he narrated Mercury Theater’s adaptation of  H. G. Wells’, The War of Worlds, bringing him instant fame or at least infamy. In 1941 Welles, wrote, produced, directed, and acted in his greatest gift to movie goers everywhere: Citizen Kane.  A critical success on opening but financially not too great, held back by the Hearst’s family distaste and advertising boycott of the movie. Its impact on the public, though, has increased over time and by 2017 it was considered the greatest film ever made. He is also considered the 2nd greatest director of all time, with only Hitchcock ranking above him.

A Touch of Evil was Welles’ last Hollywood movie and one of the last in the film-noir genre, at least in the era of Hitchcock, Wilder, and Huston.  It ranks as one of his finest. Filmed in black and white, his use of upward shots, long sequences, and garish, crowded scenes gives the movie a dark and sinister look, foretelling from the beginning an ending of bleakness and sorrow.

Welles and Dietrich steal the show.  They are the 800 pound gorillas among the lesser greats of Heston, Leigh, and Cotton.  Heston’s acting is worthy of his name and this movie but casting him as a Mexican is a head scratcher.  Every time he appears in a scene you have to think about why he is portraying someone he clearly isn’t.

A Touch of Evil expresses the shadows of our lives that we all try to suppress, not by standing in the light but hiding them in our dark lonely places. Quinlan always getting his man regardless the cost, Vargas forsaking his wife to play the good cop, crime bosses sinking lower, night watchmen to afraid to do the right thing.  A tale of crossroads, with the right and left forks leading to the same forlorn scene of heartache and grief.

This is a movie you need to add to your “Must Watch in My Lifetime” list.  It is a great film-noir movie consistently ranking as one of the top 100 movies of all time.

Out the Double Double

The Spy Who Came in from The ColdM Spy 1965

Theaters:  May 1965

Streaming:  July 2004

Rated:  NR

Runtime:  112 minutes

Genre:  Action – Classics – Drama –  Mystery – Suspense – Thriller

els:  7.5/10

IMDB:  7.7/10

Amazon:  4.3/5 stars

Rotten Tomatoes Critics:  7.7/10

Rotten Tomatoes Audience:  3.7/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards: 1 Golden Globe

Directed by:  Martin Ritt

Written by:  Paul Dehn and Guy Trosper (screenplay), John le Carré (book)

Music by:  Sol Kaplan

Cast:  Richard Burton, Oskar Werner, Claire Bloom

Film Locations:  Germany, Ireland, Netherlands, UK

Budget:  $

Worldwide Box Office:  $7,600,000

Alec Leamas (Burton), station chief for the British “Circus” in West Berlin, has just lost one of his operatives and is recalled to London.  He is given a new mission in London to play the part of an angry alcoholic, drummed out the secret service, desperately in need of money to get by, and to make his plight as public as possible.  The East Germans take notice of his condition and entice him to defect; trading state secrets for a cushy retirement.  He agrees and is whisked off to East Berlin to be interrogated. His cover story quickly nabs a double agent in the East German spy office but Leamas finds himself a pawn rather than the checking knight.

Germany after WWII was divided into 3 sectors in which Britain, the US and the Soviet Union administered starting in 1944.  From 1944 to 1948, Berlin was administered jointly by the 3 powers but in 1949 the Soviets claimed sole possession of East Berlin and declared it the capital of Germany Democratic Republic. The post-war East Berlin economy was ruined, as it was in West Berlin, but because of Soviet control it was excluded from the Marshall Plan used to rebuild the rest of western Europe.  East Berlin’s centrally planned economy had supposedly the highest standard of living in the Soviet controlled sphere of Europe and Asia but the inhabitants were leaving the city and country in droves, with estimates of 1000 per day leaving in 1960. To stop the emigration and retain skilled workers, up went the wall in 1961 and the East German soldiers were instructed to shoot to kill anyone trying to escape.  The East Germany security forces, the Stasi, formed in 1950, tightened their grip on the East German citizens, spying on everyone to break up any dissent.  Additionally the Stasi extensively infiltrated West Germany to obtain industrial, political, and military secrets, eventually bringing down West German Chancellor Willy Brandt in 1974 because his personal secretary was an East German spy.

David John Moore Cornwell, a British writer of mysteries and spy novels under the pen name of John le Carré, worked for the English secret service until his 3rd novel in 1963, The Spy Who Came in from the Cold, became an international best seller. He quit the service in that year and devoted his time to writing, mainly cold war spy novels dealing with the psychology of gamesmanship and spy craft rather than James Bond type action. His stories usually center around the moral cost of attempting to contain the communist empire without absorbing the stain of their criminality and depravity. Prior to his 1963 novel being published, Heinz Paul Johann Felfe, a German double agent that spied for everyone, Nazis, Soviets, West Germans, Brits; was caught by the West Germans, while in their employ, in 1961, and sent to prison for treason.

Paul Dehn and Guy Trosper wrote the screenplay for the movie and it follows the novel very closely. Dehn was a writer of plays, musicals and movies.  His first screenplay in 1950, Seven Days to Noon, won him an Oscar. Guy Trosper was a writer and producer from Lander, Wyoming best known for this movie and the 1962, Birdman of Alcatraz.

Martin Ritt, actor, director, writer, and producer, gives the viewer a somber message of spy craft without any glamour or gadgets.  Presenting a story about dubious principles and ugly spy results, he sticks to script and makes one of the best spy movies of all time.  This is his 2nd best movie, his 1963 Hud is his best.  The rest of his 30 or so movies are just a rehash of communist talking points and politically correct drivel. Nominated many times for Best Director he never managed to pull down Oscar or a Golden Globe.

The acting in this movie couldn’t get any better.  Richard Burton and Claire Bloom team up to create a tragic series of dichotomies revolving around youth and age, communism and freedom, innocence and cynicism, idealism and debauchery.  In the end they are both occupying the same poles, one learning nothing, the other wanting to learn no more.

This is a movie you need to add to your “Must Watch in My Lifetime” list.

Innocence Lost

The Third Man M Third 1950

Theaters:  September 1949

Streaming:  November 1999

Rated:  NR

Runtime:  93-108 minutes

Genre:  Classic – Crime – Drama – Film Noir – Mystery – Suspense – Thriller

els:  8.5/10

IMDB:  8.2/10

Amazon:  4.2/5 stars

Rotten Tomatoes Critics:  9.3/10

Rotten Tomatoes Audience:  4.3/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards: 1 Oscar

Directed by:  Carol Reed

Written by:  Graham Greene (screenplay and book)

Music by:  Anton Karas

Cast:  Joseph Cotton, Trevor Howard, Orson Wells, Alida Valli

Film Locations:  Austria, UK

Budget:  $

Worldwide Box Office:  $618,173

Holly Martins (Cotton), an American writer of 3rd rate westerns, broke and drunk more often than not, is invited to post-WWII Vienna by his old friend Harry Limes (Welles). Martins arrives in Vienna in time to witness Limes’ funeral.  Martins begins to ask around about the death of his friend and slowly becomes suspicious that the official account of his death, a traffic accident, is cover for a murder. Martins, an innocent fool, sets out to discover the truth about his friend’s death, stumbling through a city filled with experienced cynics, thugs, and kriminelle.

Nazi Germany annexed Austria, known as Anschluss Oesterreichs, in March 1938 with significant support of the Austrian public.  In 1943 the Allied powers; Britain, France, US, and the USSR, agreed to nullify the German annexation and have it revert back to an independent country at the end of the war.  The Allies, in 1945, divided Austria and Vienna into 4 sectors with each sector controlled by one of the 4 powers.  This arrangement was to last until 1955 when the country agreed to maintain eternal neutrality. The allied powers initially stationed 260,000 troops in the country after 1945, which was entirely paid for by the Austrian people. The cost of the occupation coupled with the war-destroyed industries and poor harvests lead to wide-spread hunger, lack of heating for homes and businesses, and unemployment.  The post-war years of 1945-46, with little in the way of an Austrian police force, saw crime spiral out of control with Soviet troops responsible for 90% of all reported crimes. The underground economy flourished with little or no regulation or oversight.

Graham Greene, considered as the greatest English writer of the 20th century and with the publication of his 1940 novel, The Power and the Glory, cemented his reputation as one of the best writers of his generation. Early in life he joined the communist party and a few years later converted to Catholicism. He initially wrote a short novel for The Third Man, not intending to publish it, but to provide background for the screenplay. The novella was eventually published under the same name as the movie, The Third Man in 1950. The book is not very good, basically because it is in an unfinished state. Ignore the book and watch the movie.  Greene, in 1948, personally researched the book and screenplay by exploring the streets, nightclubs, and sewers of Vienna along with immersing himself into the clandestine black-markets within the city.

MU Zither 2018A pedestrian movie filmed in Vienna would require a musical score relying heavily on orchestral waltzes with dance scenes showing gay Venetians circling the glossy dance floors of resplendent Viennese palaces. Well this movie isn’t pedestrian by any means; no waltzes, no orchestras, and no palaces make an appearance.  The entire score is delivered by a single instrument; the Zither, a multi-stringed, wooden instrument played either in an upright position or laid flat on one’s lap. The movie opens with the Anton Karas playing  an instrumental on a Zither. It is initially foreign and harsh to the ear but as the movie progresses you warm to its sound and melody, eventually succumbing to its hypnotic effects, realizing in the end that no other musical approach or sound would have worked.

Carol Reed took Greene’s ok screenplay and transformed it into the greatest British film ever made.  The black and white scenes of mountainous mounds of Viennese bombed rubble, the back-lit monstrous shadows, tilted horizons that change the normal perspective to an austere strangeness fitting of the black undertones of the movie; effects that add to the downbeat story of innocence lost in the harsh glare of a crooked reality.   The movie begins and ends with a funeral, letting you know that the only happiness you will find in post-war Vienna comes with death: death of desire, death of devotion, death of decency.

The acting in this movie is superb. Joseph Cotton’s innocence, Trevor Howard’s natural stoic acceptance of a world gone bad, Alida Valli’s stubborn attachment to love, but its Orson Welles that stands out as the films larger than life anti-hero.  An auteur with only acting credits in this movie, but he still insists on bringing along his own style, ad-libbing his lines when it suited him, inserting one of the most memorable lines in the movie:

You know what the fellow said – in Italy, for 30 years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock.

It doesn’t really matter that it was the German’s who invented cuckoo clocks and the Swiss were content with being bankers, sans the Hapsburgs, and providing mercenaries to the other European powers’ wars.

This is a movie you need to add to your “Must Watch in My Lifetime” list.

Black Water

ChinatownM Chinatown 1974

Theaters:  June 1974

Streaming:  November 1999

Rated:  R

Runtime:  130 minutes

Genre:  Crime – Drama – Film Noir – Mystery – Suspense – Thriller

els:  8.5/10

IMDB:  8.2/10

Amazon:  4.6/5 stars

Rotten Tomatoes Critics:  9.3/10

Rotten Tomatoes Audience:  4.2/5

Metacritic Metascore:  86/100

Metacritic User Score:  8.9/10

Awards: 1 Academy Award and 4 Golden Globes

Directed by:  Roman Polanski

Written by:  Robert Towne

Music by:  Jerry Goldsmith

Cast:  Jack Nicholson, Faye Dunaway, John Huston

Film Locations:  California, US

Budget:  $6,000,000

Worldwide Box Office:  $29,200,000

J.J. “Jake” Gittes (Nicholson), a former L.A. cop, spends his days and occasional nights as a private investigator, hired mainly to catch cheating spouses in the act of, well, cheating. An elderly woman hires Jake to find the women her adulterous husband, Hollis Mulwray the chief engineer for L.A. Water and Power, is fooling around with.  Jake photographs Mulwray in the embrace of a young woman and the next day the pictures are on the front page of the newspaper. Mulwray is found dead by drowning in a city reservoir the same day. The wife of Mulwray (Dunaway), who it turns out, is not the women who hired Jake the day before, sues him for publishing the pictures. Jake realizes soon enough that he was set up and Mulwray was murdered. He is determined to find out why.

The movie’s story, set in 1937, is a mixed-up, mashed-up telling of the L.A. water wars in the early 1900s. By the end of the 19th century L.A.’s growth was outstripping its water supply and the city fathers, politicians, started looking for alternate sources that would quench the city’s ever-growing thirst.  They found it 250 miles northeast of L.A. in Owens Valley, a high valley nestled between the Sierras to the west and the beginnings of the Basin and Range region to the east, containing a very nice, thirst quenching river.  The voters in L.A. approved 2 bond measures in 1905 and 1907, totaling $26 million dollars, to build a 233 mile long aqueduct from the Owen River to the L.A.’s Lower San Fernando Reservoir,  which was later renamed the Lower Van Normans Reservoir.  The city along with numerous investors negotiated the water rights from the farmers in the valley, some say swindled, and the aqueduct was built by L.A. Power and Water between 1908 and 1913. The project was supervised by William Mulholland (Hollis Mulwray in the movie), who along with the mayor, Fred Eaton, acquired the water rights to the valley by purchasing the land for a fraction they paid to other land owners outside of Owens Valley.  They told the owners that they only wanted a small part of the rights but by 1928 the city owed 90% of the water. The water diversion to L.A. effectively destroyed farming in Owens Valley and by 1924 Owens Lake, which was fed by the river, dried up to a throat-choking plain of dust. That same year farmers in the valley dynamited some of the diversion gates, allowing the water to return to its natural course, at least for a short while. It was an ineffective revolt and by 1927 the farmers were mostly bankrupt and defeated.

Robert Towne wrote the script for Chinatown, winning an Oscar for Best Original Screenplay and a Golden Globe for Best Screenplay, using the L.A. water wars and Raymond Chandler as inspiration.  He originally envisioned the story to be a trilogy, all starring Jack Nicholson.  The second part, The Two Jakes, involving shady oil deals within the city, was directed by and starred Nicholson. The movie did poorly causing everyone to lose interest in the third movie. Roman Polanski had an uncredited part in the Chinatown screenplay, shortening it and changing the ending.

Roman Polanski, celebrated director and rapist, directed Chinatown, winning a Golden Globe for Best Director by creating a beautiful film noir that elevates the genre to heights not seen since the 1941 The Maltese Falcon or the 1958 Touch of Evil.  His homage to the genre even includes 1940 style rolling credits; a charming touch. While his Rosemary’s Baby was horror within your mind, Chinatown was in your face with political cynicism and sexual debauchery.

Jack Nicholson, winner of two Academy awards for Best Actor and nominated for 10 others including Chinatown, provides the glue that takes this picture from good to great. His role of an aggressively suave, former gum-shoe, propelled him to the heights of a true legend in Hollywood. A couple of pointless points: Nicholson was in a serious, sometimes, relationship with John Huston’s daughter, Angelica, during the filming of this movie and he also lived on Mulholland Drive, see above, in Beverly Hills.

This is another movie that should be on your “Must See in My Lifetime” list.  A true masterpiece of writing, directing, music, and acting.

Teutonic Woe

M Dark 2014The Dark Valley

Theaters:  February 2014

Streaming:  January 2015

Rated:  NR

Runtime:  115 minutes

Genre:  Action – Drama – Mystery – Thriller

els:  5.5/10

IMDB:  7.1/10

Amazon:  3.9/5 stars

Rotten Tomatoes Critics:  NR/10

Rotten Tomatoes Audience:  3.6/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards:

Directed by:  Andreas Prochaska

Written by: Martin Ambrosch and Andreas Prochaska, (screenplay); Thomas Willmann(book)

Music by:  Matthias Weber

Cast:  Sam Riley, Tobias Moretti, Paula Beer

Film Locations:  Val Senales, Trentino-Alto Adige, Italy

Budget:  $ NA

Worldwide Box Office:  $ NA

Near the close of the 19th century Greider (Riley) slowly rides his horse up into a mountain valley in the Alps, a valley of steep slopes and fir trees, shadowed by two grim, coarse looking fellows with rifles strung across their backs. As he enters a small mountain village, he approaches a group of men, the towns overlords, and asks for lodging for the winter.  He is told to go away.  Greider offers gold, lots of it, the rulers have their price and relent, allowing him to stay at the house of an old widow and her soon-to-be married daughter. The town and the stranger have secrets, mean nasty secrets; all which slowly seep out of the frozen, village grounds into the somber, cursed lives of the anti-chosen.

The movie is based on a novel written by the German author Thomas Willmann: Das Finstere Tal.  The movie is a fairly honest representation of the book except Greider in the book is a painter, in the movie he is a photographer.

Andreas Prochaska, director and writer, relatively unknown outside of Austrian-German cinematic circles, has produced a German western which, I believe he did it on purpose and is unashamed of it to boot.  This is genre that I didn’t know existed but once seen comes across exactly as you would expect; a slow, thorough, mechanistic, unemotional progression through a plot until the inevitable brings a conclusion.

This is a dark and grim movie, a movie on Valium.  No one is allowed to smile in this movie. No one is allowed to speak faster than a largo beat of a metronome. No one is happy in this movie and likely they don’t know the meaning of word.  This is, first a drama, secondly a thriller, and finally a movie about perseverance and revenge. What this movie lacks is originality, except the part about it being a German western but that’s closer to original sin than original, and vibrancy.

Bad Luck Explained

Accident Man  M Accident 2018

Theaters:  NA

Streaming:  February 2018

Rated:  R

Runtime:  105 minutes

Genre:  Action – Crime – Mystery – Suspense – Thriller

els:  6.0/10

IMDB:  6.1/10

Amazon:  3.8/5 stars

Rotten Tomatoes Critics:  NA/10

Rotten Tomatoes Audience:  3.6/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards:

Directed by:  Jesse V. Johnson

Written by:  Scott Adkins and Stu Small (screenplay), Pat Mills and Tony Skinner (comic)

Music by:  Sean Murray

Cast:  Scott Adkins, Ray Stevenson, David Paymer, Ashley Greene

Film Locations:  London, England

Budget:  $ NA Low-Budget Indie

Worldwide Box Office:  $ NA

Mike Fallon (Adkins) has a nice life concocting natural death for others.  Fallon is a successful contract killer that goes to great lengths to make sure his murders are not judged murders, just someone having a bad hair day or another wrong place, wrong time accident. Death is a good business so life is good until his ex-girlfriend is murdered. Piecing together the story of her death he begins to realize that his mates in the causality business may have had a hand in her demise. Fallon sets out to even the score with judo chops and bullets flying non-stop.

The movie is based on a series of comics by Pat Mills and Tony Skinner, published in 1991 in the magazine, Toxic!  The series was collected into a graphic novel, The Complete Accident Man in 2014 by Titan.

Jesse V. Johnson, stuntman in the 2012 The Amazing Spider-Man and director and writer of the incredibly bad The Last Sentinel, puts together a story and cast to produce a decent action film with few plot holes but at the same time producing nothing spectacular. Everything is a bit off.  Great martial arts scenes but it doesn’t flow together or congeal into an exciting whole.

In the end this movie is all Scott Adkins.  He produces, he writes, he acts, he fights.  It all works to a certain degree but fails to grab you, or emotionally tie you to the film.  I wouldn’t mind a sequel but hopefully with a larger budget to ratchet everything up a notch. An ok movie with some original scenes but nothing terribly memorable.

Bullets from the Past

22 Bullets  (L’immortel, original title — French Audio, English Subtitles)M 22 Bullets 2010

Rated:  NR

Runtime:  115-117 minutes

Genre:  Action  – Crime – Drama – International – Mystery – Suspense – Thriller

Theaters:  Europe – March 2010

Streaming:  US – February 2014

els:  5.5/10

IMDB:  6.7/10

Amazon:  4.1/5 stars

Rotten Tomatoes Critics:  5.1/10

Rotten Tomatoes Audience:  3.3/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards: NA

Directed by:  Richard Berry

Written by:  Eric Assous and Richard Berry (screenplay), Franz-Olivier Giesbert (book)

Music by:  Klaus Badelt

Cast:  Jean Reno, Kad Merad, Jean-Pierre Darroussin

Film Locations:  Avignon, Marseille, Paris, France

Budget: $20,000,000

Worldwide Take: $21,300,000

Charlie Mattei (Jean Reno) after a career as a gangster wants to retire and spend the rest of his life peacefully with his family; a wife and 2 children.  Well, if wishes were politicians, thieves would rule — oh wait.  Mattei leaves his gangster business to his old criminal friend, Tony Zacchia (Kad Merad), and for 3 years he actually enjoys some peace until someone has 8 mobsters pump Charlie full of chemically accelerated lead. Charlie miraculously survives and recovers from the damage of 22 bullets and sets out to find those responsible; first without bloodshed then when that doesn’t work, firmer measures are employed.

The movie is loosely based on the real life Marseille mobster, Jacques “Jacky Le Mat” Imbert, who in the 1950s specialized in burglaries, hold-ups, and general thuggery.  By 1960s he added extortion, kidnapping and murder to his resume and was, and still is, considered the “Last Godfather” within French crime circles. In the late 1970 Imbert was gunned down by several mobsters associated with his old crime boss, Tony Zampa.  Doctors removed 22 pieces of metal from his body including 7 bullets.  He survived but his right hand was paralyzed.  Later 11 mobsters working for Zampa were gunned down in apparent retaliation for the failed hit. Police suspected and arrested Imbert but released him after 6 months for lack of evidence in the murders.  He reportedly retired when released but continued to associate with gangsters in Paris including the angelic, drug kingpin Francis “The Belgian” Vanverberghe of  The French Connection infamy.

Richard Berry, director, screenwriter and actor, known mainly for his work in French cinema, puts together a glossy gangster movie with great acting talent and replete with all the essential scenes of murder and car chases but little in the way of pizzazz or a hold-onto-your-seat intensity.  The movie at first has visions of Francis Ford Coppola’s The Godfather but quickly degenerates into a story too-many-times told with an uneven delivery of what, in the end, is another pedestrian revenge flick.  The movie keeps your interest but the character development is spotty for the secondary actors, leaving the viewer occasionally lost in the gun-smoke of plot development.  Berry could have also left out the morality lectures from gangsters; way too out-of-place for this genera. Honor among thieves is one thing but mobsters as altar boys is a step too far.

Jean Reno plays Charlie Mattei with his usual aplomb and sophistication which always makes him one of the more, if not the most interesting person in a movie.  Think Leon in The Professional or the inspector Captain Bezu Fache  in Da Vinci Code.

This is an average revenge movie with some interesting and creative scenes of the bad guys delivering justice to the bad guys but it never gets past the formulaic, and thus, predictable plot.  The movie could have been much more with less mobster morality, more with less graphic in your face violence, more with less regularity; a few real plot twists would have taken this movie to another, more interesting level.

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