Caliber 9

Like The Italian Connection, this Fernando Di Leo film features Mario Adorf. It also features Barbara Bouchet (Gangs of New York), who left the States in the 70s to do Italian films. She jumped from Police films, to giallo, to erotica. Always a pleasure to watch.

This is a typical double cross film with a missing $300,000. 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

An ex-con attempts to go straight but cannot escape the influence of his old crime bosses. Underpinning everything is the matter of a missing $300,000 that he is under suspicion of stealing. 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.

This is an undeservedly little-known gangster movie. The story resolves around the traditionally motive of loyalty, betrayal, and the strange moral code of the Mafia (in Italy), but we are never quite sure what ending the story is going for. The film keeps up the pace nicely throughout and the excellent doubly-twisted ending comes as a total surprise.

Gastone Moschin is very good in the lead as the apparent excon and victim of the Mafia's attention, but the acting prize goes to Mario Adorf's Mafia Lieutenant. He also has the best line, right at the end - which I cannot give away as it would spoil the suspense.

Films like Milano Calibro 9 are the reason I watch this sort of film. After trudging through so many disappointing Italian thrillers, it's always great when you find a diamond in the rough - and that's exactly what this well crafted little gem is. The film is a thriller bordering on the 'Polizia' style of films that would go on to become Italy's version of the Dirty Harry franchise, although the main plot focus here is on crime and the mafia. It has to be said the plot isn't overly deep - as the themes of stealing and treachery exist only to further the complex and twisted plot, but the film is great fun to watch and a success for that reason. The plot focuses on Ugo Piazza; a convict just out of prison. He soon meets up with his sexy girlfriend Nelly Bordon, and with the unpredictable and sadistic Rocco, who revels in committing acts of violence, and we later learn that £300,000 has gone missing, and the local crime syndicate believes that Ugo has it - as does the local police inspector, who has his own opinion about why Ugo went to jail in the first place.

The main reason why this film excels is thanks to the fantastic performances. Gastone Moschin leads the film with a performance that reminded me of something Ray Winstone would deliver. He provides a likable anti-hero, while Mario Adorf gets to enjoy himself with the meatiest role in the film. Barbara Bouchet co-stars and looks great, especially in her dancing scene in a bar. Bouchet is one of my absolute favourite Italian actresses, and I always enjoy seeing her in films - especially when they're up to the standard of this one. The film does somewhat adhere to the pitfall plaguing many Italian thrillers - that being that the story doesn't always make sense, but generally; the plot flows really well and the twists and turns ensure that it never gets boring. The climax of the film is excellent, and director Fernando Di Leo excellently pulls off the double twist at the end, which both resolves the story and provides neat entertainment. Overall, Milano Calibre 9 may not be the most well known cult Italian film - but it's one that shouldn't be missed by fans of this sort of stuff, and therefore comes highly recommended.

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. Osanna/Bacalov's music is totally uncompromising and - in my honest opinion - worth a hundred times the entrance money in its own right. 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. NOT TO BE MISSED!

(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).