Gretchko

I fell asleep watching this movie but admittedly only for the last ten minutes. The storyline is not explained well, it was only today I discovered what the value of the theft was and the background. The start was terrible, I thought I had missed something. The parts where characters stare at each other for long periods does not improve the tension or the plot... just made me lose interest. Is worth a watch if you are drunk however as it provides plenty to laugh about. I have seen the end and it did not improve the movie for me. Having bought this for £5 in a box set of "20 Great Action Adventure Movies" I do not feel ripped off, I feel I have obtained A useful tool for entertaining myself and my friends... but not in the way the director intended. I will not advise people to avoid this. The story is good but the way it has been put across to the audience is poor and maybe some more time could have been taken. There is a hint that there was some talent behind this movie as the shots of New York are beautifully gritty and not all glossy. Do watch this, even if just for a quick laugh before moving onto something better.

A pretty good movie could be made from this script, and unfortunately that's the best thing I can say for it. What little there is intact in this print (from the Hollywood Legends 50 movie DVD set) has a sort of appealing 70s funkiness to it like the non-sex scenes from an old porno movie. The conversion from widescreen format and the chopped-up state of the print, however, is more like an old Benny Hill sketch, lacking the vague amusement factor. Many dialogue scenes end up being still shots of a table and lamp with actors' shoulders protruding into the scene from either side. The print seems to have been returned from a foreign land which censors out not only violence but THREATS of violence or the implication that anything vaguely violent may be about to occur. People are standing around talking, and then someone is on the floor bleeding for some reason. The fact that it was directed by the ubiquitous Margheriti comes as no surprise - I have developed a sort of affection for his quick and dirty hacking-out of economical and moderately entertaining movies. In a decent print the story has enough twists, and the actors and crew are workmanlike enough, that it might be a pretty fair experience, but this print is a real head-smacker all the way through, leaving the viewer wondering what just happened over and over again. A mystery in all the wrong ways.

After the spaghetti western craze in Italy died out in the mid-1970s, Lee Van Cleef still found himself wanted by Italian filmmakers for several years afterwards, "The Squeeze" being one of his post-westerns. Although Van Cleef was in his 50s when this movie was made, he still had the stuff that made him a star, and he gives a solid performance here. Another good performance in the movie comes from Karen Black, who is pretty convincing as a kind of ditzy neighbor who enters the life of Van Cleef's character. The movie also has better than average production values for an Italian production for the time, with on-location filming in New York City that gives the movie an authentic feeling at times. However, despite all this good stuff, the movie is still somewhat of a struggle to watch. It's very talky, with long stretches with nothing happening. A few more action sequences would have helped considerably. There are a couple of twists in the final few minutes, but it's too little too late. In short, the movie is probably only for die hard fans of Lee Van Cleef during an unusually slow night.

This Italian produced, NYC lensed heist picture is actually quite entertaining with a few nice twists. Retired safe cracker Chris Gretchko (Lee Van Cleef) is lured to a job by the son (Edward Albert) of an ex-buddy. He flies to NYC and finds out he will be lifting $1 million in diamonds for a shady German group. It all goes smoothly until he learns that the group has plans to kill the second he has the safe open. Directed by Antonio Margheriti (as Anthony Dawson), this flick benefits from a clever script, great performances and evocative locations in New York. Van Cleef is his usual gruff self and he plays most scenes off Albert or hippie chick/life saver Karen Black. Lionel Stander appears as Gretchko's old-time fence. Supporting roles include Peter Carsten as the German mob boss, Ron Van Clief as some karate chopping muscle and soon to be character actor Roy Brocksmith (the bald, fat guy from TOTAL RECALL) as the guy who gets ripped off.

Lee Van Cleef at his most facially challenged plays a retired safeman, who comes back from Mexico to New York to do one job for a friend's kid.

Includes most of the cliches one would expect from a "last gig"- film, but redeems itself with nice NY locations, comedy (some intentional) and Lee Van Cleef. Recommended as a time- passer.

Released on video in Finland in the eighties.