Secuestro de una mujer

I saw this for the first time recently aft reading a glowing review by Coventry n the other factor which pulled me into seeing this is Silva.

They say that this one is the final part of Fernando Di Leo's "Milieu Trilogy" also including Caliber 9 (1972) and The Italian Connection (1972).

I haven't seen the other two but this one ends with a note stating to be continued.

But a sequel was never made.

Silva is very convincing in the role of that of a ruthless hitman who doesn't hesitate to ill treat a hot nymphomaniac n is obsessed with photos of women with big juggs.

The opening scene of the theatre is very brutal n some of the shoot outs are pretty violent.

The only three things which bothers me, how the character of Silva slipped out of the shack?

What was the conversation towards the end just before when the movie ends with a note to be continued.

The movie has lots of unwanted chit chats.

The indelibly iconic, 'Il Boss' remains a sinuous, stiletto-sharp, heroically hard-boiled Mafiosi-noir from famed poliziotteschi stylist, Fernando Di Leo. Starring the notably stern, Stoic to the point of terminal rigidity, Henry Silva, delivering yet another coolly charismatic performance as the vicious,ice-veined terror-thug, Nick Lanzetta, with fading Hollywood matinee idol, Richard Conte lending his swarthy, old world gravitas to the meaty role of octogenarian Sicilian king pin, Don Carrasco. All this uniquely explosive, stylishly rendered retribution is excitingly catalysed by another funky, uber infectious score by long-time, Di Leo collaborator, maestro Luis Enriquez Bacalov. 'Il Boss' thunderously remains an absolutely essential, mongoose mean Spaghetti shoot 'em up, and thankfully, Di Leo flinches not a jot from the requisite Mafiosi movie mantra of seriously squib-happy ultra violence! If you have yet to be dazzled by any of maestro, Fernando Di Leo's strikingly stylish, meticulously crafted gangster epics, one should manifestly start here, as the Neolithically nasty, Nick Lanzetta is one of the most mesmerically Machiavellian, blithely blood thirsty hit man to have ever blazed a ballistically bellicose swathe across the Silva screen!

This movie shows it like it is. In this movie Ferdinando di Leo was brave enough to use real unofficial incidents that were happening at the time,he even used some real names, or changed some by changing only a letter from the name, After this movie came, Ferdinando became paraniod that someone was going to "take care of him" for the content of this movie but nothing happend. This movie is great because, Di Leo doesn't make out the characters to be charismatic role models, but the cold blood assassins they really are. I give this movie 2 thumbs up. Plus and the end of the movie it sais to be continued, but not because theirs going to be a sequel, but becuase he just did a piece of mafia history, and the mafia continues, no good endings or bad endings, just a piece of history.

I agree with the only other individual who has commented on this movie, it's a real 'mafia-action' classic from the early seventies and is gritty, well plotted and acted and has a very high body-count !

Our hero (or rather anti-hero), is a hit-man for the mafia, who proves his worth by rubbing-out half of a rival gang, whilst they were enjoying a private screening of some Scandinavian porn, launching grenades from the projection room- into the auditorium.......

I don't want to give away too-much but this film has enough twists and turns -double and treble crosses to keep any fan of the genre glued to the screen.

Also has a great score by Luis E. Bacalov - the main theme comes in times of action and thunders by like an express train carrying an angry Keith Moon, backed with fuzz-guitar, then flips into frantic jazz piano (has to be heard to be appreciated).

Has to be seen too !

The Boss is the third and final part of Fernando Di Leo's loose trilogy based on organised crime, and it's also the weakest. Milano Calibro 9 and The Italian Connection are without doubt two of the finest examples of this genre, but while this one isn't particularly bad; it's not great either, and despite a number of standout moments; The Boss grinds to a halt on more than one occasion, and I was nowhere near as gripped during this film as I was during the other two parts of this trilogy. The film is more focused on the 'organised crime' angle than the other two films; and The Godfather seems like an obvious influence. The film focuses on a war between two rival mafia families. Things start to get out of control after an attack on the local porn theatre, which leaves a load of gang members dead. Naturally, the wronged gang decides to take revenge for these killings and goes about kidnapping the rival don's daughter Rina Daniello. At the centre of the tale is the Nick Lanzetta, the assassin behind the killings in the theatre.

The film gets off to an explosive start with a sequence that sees the central character blow a load of people away with a grenade launcher. This is somewhat misleading; as a film with an opening like this really promises excitement all the way through, but unfortunately things slow down after that, which really annoyed me. The film does feature some other interesting scenes (including a nice death scene that sees someone get a flick knife in the mouth), but The Boss never manages to top its opening scene. A lot of the film is made of talking, and that's not what I tune into this sort of film for; I prefer my Polizi full blooded and full of car chases and gun fights. Like the superior 'Italian Connection', this film stars Henry Silva. The cult actor made a number of these films, and he suits the hit-man role well. Seasoned Italian cult film actor Richard Conte stars alongside Silva and also does well also. I have to say that I was losing interest by the end, but thankfully the film does have just about enough about it to ensure that it's worth seeing for fans of this usually wonderful genre.