Milano calibro 9 (Italian Edition)
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The only problem is that Uzo vehemently denies having taken the money, and he intends to prove it so he can settle down again with his former girlfriend, Nelly Barbara Bouchet. Ugo could have walked out of an American film noir: His only connections in the crime world are the blind Don Vincenzzo Ivo Garrani , a former Mafia Don, and his bodyguard, Chino Philippe Leroy , but they refuse to get involved out of principle. If Ugo really stole the money, then he broke rules of conduct amongst criminals.
The movie is very ingenious in the way it contrasts a mythical, bygone age of honourable Mafiosi, nostalgically recalled by Don Vincenzzo, and the unchecked vicious thugs controlled by Rocco. The concept of honour comes back to haunt Chino at the end, in one of the movie's many twists.
But Ugo is a resourceful guy, capable of withstanding a beating if that will further his goals. Although not the physical type he's smart and we watch him manipulate Rocco, The Americano, the police and Chino like pieces in a chessboard, except he's moving the pieces on each side. Anyone who has seen A Fistful of Dollars or Miller's Crossing may think they know where this is going, but the way Ugo turns everyone against each other is a class act on its own level.
The acting is efficient but not stellar. Moschin's subdued performance is the perfect counterpoint to the over-the-top tour de force by Adorf, who bursts into the screen like a wild beast ready to tear his preys apart. Although his performance as a tough, nasty thug lends itself easily to parody, it's also one of the funniest aspects of the movie The movie also suffers from something endemic in Italian cinema from the '70s.
At the time almost everyone in the arts was a leftist and usually the films were full of political content. Some directors knew how to incorporate this naturally into the story — Elio Petri's Investigation of a Citizen Above Suspicion does a great job showing the way a fascist cop's mind works, and Bertolucci's The Conformist is a sober portrait of life in Mussolini's regime. Others failed to marry story and content and turned into pamphlets.
Such is the case of Caliber 9 at times: These scenes seem to belong in another film, and Di Leo only justified not removing them because Wolff and Pistilli deliver great performances. Fpi 17 September Crime novels can be rather dull sometimes, but everyone will agree that some are simply excellent - suspenseful, totally unpredictable and with numerous plot twists.
This film is apparently based upon one of the excellent ones. Both silly and intelligent viewers will be kept on the edge of their seat until the very ending, which by the way has an unforgettable quote. When a plot like this is coupled with terrific acting and world-class visuals and music -- the result has to be good. Those sympathetic to early seventies fashion and music are in for a real treat.
Milano Calibro 9 Blu-ray - Barbara Bouchet
This may be the best soundtrack ever! The visuals are also astonishing - timeless in their beauty, but still with a strong flavour of early 70s.
And you'll also catch some glimpses of what must be the world's most beautiful woman. In sum, all this simply makes up a classic. Those who already own the soundtrack, which actually seems easier to find than the movie, should be advised that the movie has alternate versions, all brilliant.
Interesting polizioto fusion chaos-rampant 14 August Milano Calibro 9 is story-wise closer to noir, complete with femme fatale, a laconic and weathered protagonist and unexpected plot- twists but in the same time is plagued by the usual workmanlikeness that plagues many of these Italian police films. Di Leo's direction lacks the unique touch, visual and otherwise, that elevated Melville's films from simple potboilers. So even if the movie attempts to break the mold of typical poliziotos, the direction makes it look like the kind of films it tries to distance itself from.
The political aspect is pretty heavy-handed, to the extent that it is almost entirely and explicitly manifested through the dialogues between Luigi Pistilli's "criminals are the effect, not the cause" left-ist inspector and Frank Wolff's typical hard-assed police captain. On the good side, Gastone Moschin's understated performance as Ugo Piazza is fantastic and thankfully makes up for Adorf's atrocious overacting, Barbara Bouchet is gorgeous as usual and also gets to show her dancing skills in a bikini, the music is cool and the plot twists near the end are effective in their unpredictability.
The story is interesting enough I guess but as a whole color me unimpressed. Red-Barracuda 4 February An ex-con attempts to go straight but cannot escape the influence of his old crime bosses. The mob and the police want him to reveal all, while he protests his innocence. Milan Calibre 9 is one of crime specialist director Fernando Di Leo's most famous movies. He was probably the best director in the Italian poliziotteschi and is responsible for several other classics of that sub-genre, such as The Boss and The Italian Connection.
Like those, this one is also a fast paced, tough and violent flick with some excellently staged action scenes. The big shoot-out at the outdoor garden party stands out as an example of the latter. But mainly the story is driven more by interesting characters and a fairly complex plot with several twists and turns. The Milan setting itself is used well, with a good sense of place. Unlike the other Italian thriller genre of the 70's, the giallo, the poliziotteschi were virtually all set in Italy itself.
Many, like this one, featured the city in question in their title. They were more realistic than their more stylised gialli counterparts and I guess they connected with their audience in a slightly different way in that they provided thrills along with observations about contemporary crime concerns. Milan Calibre 9 like other Di Leo crime films has some such social commentary.
The corruption in the justice system and the degradation of the mafia are subjects that are touched upon. It benefits from a very strong cast. Mario Adorf is in his element as the sadistic gangster Rocco, he owns every scene he is in. Barbara Bouchet is as exquisite as always, she plays a night-club dancer who is introduced to us in a mouth-wateringly erotic dance routine.
Lionel Standler is very convincing in the role of the sinister crime boss The Americano; while the two cops are played by reliable Italian genre film regulars Luigi Pistilli and Frank Wolff. All in all, this is a quality action-thriller that remains relatively obscure. It's a very good example of what the Italian crime movie was all about. She jumped from Police films, to giallo, to erotica. Always a pleasure to watch. Who took the money? Who will end up with the money? Who will double cross whom?
The police just sit back and let the mafia, led by the Americano Lionel Stander tear each other apart. Lots of fights, a big shootout, and some fine performances by Adorf, and Gastone Moschin. Woodyanders 3 August Tough, shrewd ex-con Ugo Piazza superbly played with understated stoic and steely resolve by Gastone Moschin gets paroled from prison.
But Ugo refuses to divulge any information about the missing loot to either party.
Milano calibro 9
This film further benefits from sturdy acting by a stellar cast: Moreover, we even get some spot-on stinging social commentary on the ineffectualness of the criminal justice system and the deterioration of the mob. The powerful surprise twist ending packs a strong and lingering sucker punch right to the gut. Franco Villa's slick cinematography gives the picture an attractive glossy look.
The lively, rousing, hard-grooving score by Luis Enriquez Bacalov hits the funky spot. JasparLamarCrabb 5 April 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. 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.
The excellent music score is by Luis Enriqez Bacalov. A riveting thriller from beginning to end. Bezenby 10 November 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 they had to throw in a mysterious killer somewhere.
Un libro che ti da poco più di quello che promette, cioè una visione di una Milano degli anni sessanta/settanta, squallida e piena di gangster e le loro bulle. Milano calibro 9 (Italian Edition) - Kindle edition by Giorgio Scerbanenco. Download it once and read it on your Kindle device, PC, phones or tablets.
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. 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.
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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 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. 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.
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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 , 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. Smashing his way through life with zero regard for the pain, suffering and hatred he generates, he dominates the film. Adorf is one of the great European actors of his generation and the more films of his I watch, the more impressed I am by his skill.
The powerful score was composed by Luis Enriquez Bacalov. The pre-titles sequence, the greatest opening scene of any Italian crime movie, introduces twitchy hood Omero Cappana walking through Sempione Park in Milan , towards a cash drop-off. The hood is revealed in the opening shot of the film, as the camera pans down Torre Branca Branca Tower , an iron panoramic tower in Sempione Park. The action then proceeds to Piazza Del Duomo Duomo Square in Milan where the cash handover, a strange game of pass-the-parcel, begins.
The music develops from the flute melody, to staccato piano, relentless strings and eventually explodes into a full-throttle prog-rock jam, as violence explodes on the screen.
HE’S GOING FOR THE MONEY!
Milan and Inter Milan. It has a seating capacity of 80,, making it one of the largest stadiums in Europe, and the largest in Italy. On 3 March , the stadium was named in honour of Giuseppe Meazza, the two-time World Cup winner , who played for Inter and briefly for Milan in the s, s and s. History Construction of the stadium commenced in in He is also a member of the Italian hip-hop collective TruceKlan. Biography Beginnings, first crews and Non dormire — As a teenager he began playing basketball and cultivating a passion for Nike and graffiti so he joined the TBF crew and Savage Boys.
He began his career in a grindcore group together with Metal Carter, but soon realized that his path was that of hip-hop. They released their first album Calma apparente in , but Noyz did not take part in it as he left the crew.
HE HAS THE MONEY AFTER ALL!!!
Later in he worked with Truceboys in the creation of their first EP. He then joined the Roman crew on a permanent basis, contributing to the creation and release of the album Sangue in The next period, in which the members of the group took on solo careers after the He appeared in more than films between and He abandoned his studies in economics and at age 20 moved to Rome, where he attended the Centro Sperimentale di Cinematografia. In Italy, six seasons of the series have been aired.
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It is described as being formed of novels and other written texts and sometimes also of cinema, theatre and other works of art , which often share stylistic and thematic constants. Rivista del cinematografo in Italian. Caliber 9 topic Caliber 9 Italian: Member feedback about Caliber 9: Gangster films Revolvy Brain revolvybrain. Milano calibro 9 topic Milano calibro 9 is a short story collection by the Italian writer Giorgio Scerbanenco. Member feedback about Milano calibro 9: Single-writer short story collections Revolvy Brain revolvybrain. Member feedback about Il Boss: Member feedback about Young, Violent, Dangerous: Member feedback about Osanna: Italian progressive rock groups Revolvy Brain revolvybrain.
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