Whilst taking part in the ICM Horror Challenge,the poll for the best films of 1976 started. Planning to see Ruggero Deodato's late Giallo Phantom of Death (1988-also reviewed) in the run-up to Halloween,I realized that I could also see Deodato show in 1976 how to die like a man.
View on the film:
Barely pausing to catch breath after Ray Lovelock's insanely catchy song Maggie plays over the credits, directing auteur Ruggero Deodato & cinematographer Guglielmo Mancori run in to smash and grab spectacular Italian Crime action set-pieces. Illegally filmed on the streets of Rome,Deodato gives the chase sequences a visceral atmosphere,with rapid-fire whip-pans capturing the urgency of Fred and Tony to clear the scum off the street.
Living up to the macho name of the film,Deodato gives Tony and Fred's "investigating" skills an aggressive punch,where punishment is given out in ultra- stylised hits that pan across the faces of each busted criminal covered in a red glaze.
Driving spikes into the "loyal cop" of the Italian Crime genre,the screenplay by Fernando Di Leo/ Alberto Marras and Vincenzo Salviani take their tale into wonderfully quirky side-tracks,showing the closeness of Fred and Tony in threesome sex with suspects,the twisting of necks and running over of anyone who gets in their way,and the blowing up of a ship.
Exaggerating the toughest aspects of the genre, the writers give each encounter with the underworld an adventure mood,where the way Fred and Tony dish out swift justice becomes increasingly over the top.
Following orders from a rumbling Adolfo Celi as the captain, Ray Lovelock and Marc Porel both give fantastic performances as Fred and Tony. Tragically dying at just 34 from meningitis after a long battle with heroin, Marc Porel gives a burst of youthful energy as Fred,whose toughness with thugs Porel matches with moments of calm in his exchanges with his best friend.
Along with showing a very good singing voice,Ray Lovelock grinds a real grit into the film as the harsh,no nonsense Tony,who proves with Fred that no criminal can live like a cop,and die like a man.
View on the film:
Barely pausing to catch breath after Ray Lovelock's insanely catchy song Maggie plays over the credits, directing auteur Ruggero Deodato & cinematographer Guglielmo Mancori run in to smash and grab spectacular Italian Crime action set-pieces. Illegally filmed on the streets of Rome,Deodato gives the chase sequences a visceral atmosphere,with rapid-fire whip-pans capturing the urgency of Fred and Tony to clear the scum off the street.
Living up to the macho name of the film,Deodato gives Tony and Fred's "investigating" skills an aggressive punch,where punishment is given out in ultra- stylised hits that pan across the faces of each busted criminal covered in a red glaze.
Driving spikes into the "loyal cop" of the Italian Crime genre,the screenplay by Fernando Di Leo/ Alberto Marras and Vincenzo Salviani take their tale into wonderfully quirky side-tracks,showing the closeness of Fred and Tony in threesome sex with suspects,the twisting of necks and running over of anyone who gets in their way,and the blowing up of a ship.
Exaggerating the toughest aspects of the genre, the writers give each encounter with the underworld an adventure mood,where the way Fred and Tony dish out swift justice becomes increasingly over the top.
Following orders from a rumbling Adolfo Celi as the captain, Ray Lovelock and Marc Porel both give fantastic performances as Fred and Tony. Tragically dying at just 34 from meningitis after a long battle with heroin, Marc Porel gives a burst of youthful energy as Fred,whose toughness with thugs Porel matches with moments of calm in his exchanges with his best friend.
Along with showing a very good singing voice,Ray Lovelock grinds a real grit into the film as the harsh,no nonsense Tony,who proves with Fred that no criminal can live like a cop,and die like a man.