Caliber 9 (1972)

Every criminal in Milan thinks that small time crook Ugo Piazza (Moschin) has stolen $300,000 from local crime lord the Mikado (Lional Stander), from Mikado's sadistic enforcer Rocco, who has already brutally tortured and killed three people involved with the cash, to Ugo's own girlfriend, exotic dancer Barbara Bouchet. Most people even believe that he had himself thrown into jail for three years until the heat died down, but Ugo denies everything.That doesn't stop Rocco harassing the hell out of him, however. First he's taken to a scrapyard to have the crap beaten out of him, then Rocco and his goons turn up at Ugo crap hotel and destroy the place, but Ugo still denies taking the cash. Ugo goes to his old partner Phillip Leroy for help, but the man can only offer him money and advises him to go see the Mikado (although he does give Rocco a kicking for good measure). The Mikado, knowing that if Ugo has the money, then there's no point in killing him, hires him as a runner and has him work for Rocco, but things go from bad to worse when a red-clad figure who has been following Ugo kills one of the goons, steals more cash, and sets in motion a series of events that ends in a bloodbath. I suppose this being 1972 they had to throw in a mysterious killer somewhere.This all sounds like your usual Euro-crime movie, but there also an ongoing socio-political debate between two cops (An animated Frank Wolff and a subdued Luigi Pistilli) about the differences in the rich and the poor, and the North and the South of the country. This is reflected in the Mikado's speech about the old and new mafia, and how honour is not practised by the 'new' criminals, which is something that comes back to haunt the film's bleak ending. Just about every actor involved here stands out. Phillip Leroy tries to live in peace but his hand is forced by events beyond his control – his weary resignation at what he has to do in the end is a highlight, Gastone Moschin is no oil painting but as the quiet, brooding lead plays a very good burned out criminal, but Mario Adorf blows them all of the screen as the manic 'moustache Pete' who may be violent and cruel, but still knows how to stick to the code of honour. His character is no fool either, as a tense, and mostly silent scene between Ugo and himself in a police station shows.The soundtrack is a killer too! Although not my favourite Poliziotteschi film (for that is what they are called), it's probably my favourite Fernando De Leo film. Oh! Special mention to the set design of Barbara Bouchet's flat – amazing use of black and white. This was one of two films released after Frank Wolff's suicide. His co- star here, Luigi Pistilli, would also go on to commit suicide after receiving bad reviews and having a public meltdown (much later, in 1996). On a happy note Phillip Leroy and Mario Adorf still walk the Earth!

Director Fernando Di Leo comes up trumps once more with this excellent Italian gangster movie, blessed with an unusual and tricksy plot which is always unfolding and totally unpredictable from start to finish. Whilst the plot is different to the rest of the Italian 'polizia' type crime films, I'm pleased to say that all the genre elements that fans know and love - the music, the characters, the action - are present and correct. Snappy dialogue is mixed in with some fine action set-pieces, including an incredible extended shoot-out in a garden which has to be seen to be believed and probably inspired John Woo's action movies.Strumming guitars make up the lively score which nicely complements the on screen activities. The opening five minutes of this film are simply spectacular, breathtaking, with stylish camera-work and Di Leo's trademark explicit violence involving a woman being savagely beaten and a victim having an unfortunate close shave in a barber's shop. The film that follows is utterly involving and has great casting in form of the leading character, Hugo Piazza, as played by Gastone Moschin. Lacking the youthful good looks that Luc Merenda and Franco Nero brought to their own particular crime films, Moschin is a revelation here and miles away from his mannered bumbling policeman character in the comedy/giallo THE WEEKEND MURDERS. Playing his role understated and subdued, Moschin scores a hit with his realistic and sympathetic character, a kind of mysterious anti-hero you never learn too much about. A great and unusual leading role and one that pays off.The film involves Moschin's fortunes as he finds himself being harassed by some greasy Italian Mafia types. After his tough friend Kino beats them off, Moschin rests easy but it's not long before he has to go and face up to the godfather, played by the ancient Lionel Stander. Stander decides to re-employ Moschin to keep an eye on him, despite the fact that he suspects him of stealing 300,000 dollars in loot. This part is never explained fully but it doesn't matter. From then on, Moschin must go about setting up dangerous drug deals and cold-blooded murders until it all predictably falls apart. The last twenty minutes of this movie are tremendously exciting and end with a couple of unforeseeable twist endings that knocked my socks off.The cast is full of Italian faces familiar to any genre fans. The love interest is played by the welcome Barbara Bouchet, whose finest moment is when she gyrates in a bikini in a sleazy nightclub - the camera is there to follow every trace and curve of her body for the viewer's appreciation. Genre regulars Frank Wolff and Luigi Pistilli lend solid support as policeman and hit-man respectively and scumbag Bruno Corazzari is great as an unfortunate Mafia aide. Best of all, however, is Mario Adorf in a supporting role as psychotic gangster Rocco. Adorf would go on to star in Di Leo's MANHUNT(incidentally a movie that's just as good as this one) but he's just as good here playing the total opposite of his later character, a stressed-out, Joe Pesci type who enjoys torturing people and keeps breaking down. A great role and a nice character twist at the end there for him too.Genre fans looking for a nice bit of GODFATHER-inspired action will find much to love about this movie. Di Leo's trademark explicit violence is present in some cold-blooded murder scenes including a guy getting bumped in the bog and even the ruthless drive-by shooting of a blind man! The ending is classic stuff and as a whole the film is totally successful with only minor flaws that are easy to ignore. Another Italian classic and a film to be tracked down.

Fernando Di Leo's mobster movie is kept buoyed by a ferocious performance by Gastone Moschin and some of Di Leo's very best direction. Moschin, who would find lasting infamy as the dreaded "Fanucci" in THE GODFATHER PART II, plays a recent parolee suspected of ripping off mobster Lionel Stander. He's hounded by psychotic Mario Adorf and ruthless police commissioner Frank Wolff. Di Leo's directs the proceedings with a lot of flair and the movie moves at a very quick clip. Moschin has great chemistry with Barbara Bouchet (as his go go dancing girlfriend) and the entire cast is first rate. Adorf is a standout as the unrelenting Rocco, a mafia foot soldier who NEVER gives up his principles. The excellent music score is by Luis Enriqez Bacalov. A riveting thriller from beginning to end. Echoes of this film can be seen in the likes of RESERVIOR DOGS & THE DEPARTED (note the breath-taking ending).

No less than Quentin Tarantino referred to "Milano Calibro .9" as the absolute greatest Italian film-noir ever made, and who the hell are we to question that statement? This truly is one of the most grippingly fascinating and shockingly straightforward crime portraits ever filmed and I wouldn't hesitate for one second to call it a genuine masterpiece of cult cinema. "Milano Calibro .9" is the first installment of Ferando Di Leo's trilogy, followed by the equally mesmerizing "Manhunt" and "The Boss". The stories and characters of these films are unrelated, but together they represent the gifted director's personal and highly criticizing visions of organized crime in Italy during the early 70's. Perhaps even more remarkable than the excessive display of nihilistic violence in these movies, is Di Leo's devotion to point out the incompetence of Italy's government and law-system during that era. The country itself is to blame for all the powerful crime networks and the relentless mafia organizations it spawned, and the director will make damn sure this message is communicated clearly. But naturally, even without all the political involvement, "Milano Calibro .9" is a phenomenal film, with non-stop suspense, rough action, realistic character drawings and head-spinning dialogs. The intro alone is fantastic, as more action and brutal violence occurs in ten minutes than most Hollywood movies have to offer throughout the entire playtime. I hate to give away too much about the convoluted plot, but I can assure it contains all the necessary ingredients: treason, vengeance among criminals, strip bars, executions, corrupt coppers and the ongoing search for a stolen loot of $ 300.000! The atmosphere in this film is continuously gritty and ominous, because literally no one can be trusted and any character risks to get shot in the back at any given moment. Di Leo brilliantly uses Milan as the location for all the mayhem, and the city inexplicably plays one of the most important roles in the story, because it forms the home of the economic crisis, high level of delinquency and police forces reluctant to alter their methods of crime-fighting. The cast is awesome, with Gaston Moschin in an unconventional but masterful lead role. Mario Adorf impresses as the sardonic and relentless second-in-command and Barbara Bouchet takes every man's breath away with her sexy appearance and ravishing beauty. The sensual dance sequence she performs is only one of thousand reasons to watch "Milano Calibro .9", but it's undeniably the most convincing one.