Across 110th Street

I caught this on BBC 1 one night many years ago . I forgot the title but could vividly remember a number of scenes especially a line of dialogue where two characters describe a third one having his genitals mutilated . This type of movie would be broadcast on television 30 years ago and no one would blink an eyelid but at the same time you can understand why it wouldn't be shown on network TV today . It as also a sign of the times back then that the TV broadcast had the F word overdubbed to something less offensive but the racial slurs against both black and whites remained intact . Perhaps the fact this film is consciously insensitive and hard hitting works against it ? This is a pity because it's not some " Blaxploitation " fare but more of a New Hollywood thriller at its best

The story itself is no great shakes - a couple of black dudes rip off and kill a few members of the Mafia and the black underworld and also kill a couple of uniformed cops in the process and find if not the entire world against them then at least the law enforcers and law breakers of NYC wanting to cap their ass . It's the sort of film Tarantino has been inspired by but unlike Tarantino's work this movie is devoid of post modernism and crippling self indulgence and is a relatively tightly plotted screenplay where lots of nasty things happen to lots of nasty people . There's a subplot featuring character interaction between Anthony Quinn's nasty racist white cop and Yaphet Kotto's not very nasty by the books black cop that might have been clichéd but does seem fresh and realistic , probably down to the fact the performances and writing portraying a rather amoral relationship between the two men and the wider world . And this does feel like an exceptionally amoral film that we never see nowadays more is the pity

In Harlem, two Italian mobsters meet three black gangsters that work to the kingpin Doc Johnson (Richard Ward) to collect dirty money from their associates in an apartment building. Out of the blue, the smalltime thieves Jim Harris (Paul Benjamin) and Joe Logart (Ed Bernard) knock on the door disguised as police officers to steal US$ 300,000.00 from the Mafia. However, they startle when the suitcase with the money falls on the floor and Jim kills the five men with a machine gun. They flee to the runaway car driven by Henry J. Jackson (Antonio Fargas) and they kill two policemen. The idealist NYPD Lt. Pope (Yaphet Kotto) and the violent Capt. Mattelli (Anthony Quinn) investigate the case while the Italian Mafia and the black gangsters hunt the killers down. Will Jim Harris and his accomplices be found?

"Across 110th Street" is a great action-crime-Blaxploitation film from the 70´s. The realistic plot would be politically incorrect in the present days but reflects life in those years. The performances and the art direction are magnificent, with tacky, dirty and ugly locations and costumes. My vote is seven. Title (Brazil): "A Máfia Nunca Perdoa" ("The Mafia Never Forgives")

Whether you regard 'Across 110th Street' as a genuine blaxploitation movie or not (I don't) there's no denying it's one of the toughest and most powerful crime movies of the early 1970s, easily as good as the better known 'Serpico' or 'Dirty Harry'. Anthony Quinn and Yaphet Kotto both give excellent performances as the NYC cops who have different approaches to trying to bring to justice some petty crooks who have ripped off the Mob. I was also impressed by Tony Franciosa who I knew from his later work in Argento's 'Tenebre'. I love that movie but always thought Franciosa was its weak point. In this movie he is one of the strengths. Paul Benjamin is also very good as one of the thieves. In fact, this movie is full of great acting, a tough and realistic script, taut direction from Barry Shear (who also made the 60s exploitation classic 'Wild In The Streets'), and a wonderful theme song from Bobby Womack, later recycled by Quentin Tarantino for 'Jackie Brown'. Highly recommended.

Paul Benjamin, Ed Bernard, and Antonio Fargas disguised as policemen raid a mob numbers bank and rip it off to the tune of $300,000.00. But the getaway is pretty bloody. Five gangsters and two real policemen wind up dead.

The film is a race against time because two parallel manhunts are at work for these perpetrators. The captain of the local police precinct Anthony Quinn is under pressure to bring in these cop killers. It's not clear whether Quinn's connection to the local black gangster crew who run the operation for the mafia is going to help or hinder his investigation.

In the meantime the local Don has sent his son-in-law Anthony Franciosa to head his own manhunt for the robbers. Of course they have sources that the cops don't have.

Of course the methods aren't too much different. Miranda warnings were a new thing at the time and Quinn is an old timer who really doesn't believe in them. The way Quinn and Franciosa interrogate doesn't leave too much room for difference, except that Quinn's subjects were still breathing after it was over.

This film probably has more bad people in it than any other that came along until Goodfellas came out. Yaphett Kotto as a cop sent from headquarters to monitor the situation is probably the only decent one among the principal players.

The best performances in the film are by Tony Franciosa who is never bad in anything and Richard Ward who may work for the Italian mob, but is by no means a lackey. He's determined to wind up a winner no matter what happens to Quinn and Franciosa.

It's a gritty look at the seamy side of law enforcement and its also gangsters without the Godfather glamor.

This movie sweats. Early on in the mostly pandering "blacksplotation" film cycle of the seventies, came this incredibly violent, hate filled drama of three small time crooks who stumble on a big score and their hopeless attempt to survive it. The film is utterly dark and features nary a cheap shot or moment of easy cynicism.

In one scene Anthony Quinn and Yaphet Kotto go to the apartment of one of the crooks lovers, already slain, to look for information and break the news. This is one of the most heartbreaking scenes ever put on film, a model of restraint and economy in a film that is busting at the seams. Actors who were probably barely in another movie give magnificent performances. The neglected Kotto was never better.

A very disturbing film that demands to be seen; art.