No Way Out

I have just finished watching a Japanese video version of this film (titled Big guns) and found it very entertaining. I would recommend this Franco/Italian made movie to any lovers of the Italian crime genre,why, well for a start the great cast of Euro-stars, apart from Alain Delon there's Marc Porel (Murder to the tune of 7 black notes/live like a cop die like a man), Anton diffring, Richard Conte, Carla Gravina and Erika Blanc. Also the way the movie was executed, a familiar story (of a mafia hitman who wants to retire) but shot and paced excellently. Of course- things don't go to well for the 'want-out' hitman (Delon) and finds himself with a personal vendetta on his hands.

Great bloody shoot-outs, great car chases, sexy leading ladies (who also get ruffed-up) and a phat "Schiffrintastic" score sometimes reminiscent of 'Harry's creed'. The version I watched ran into 112 mins and was widescreen.

If you get the chance, check this one out.

The explosive, sharp-shooting underworld thriller, 'Tony Arzenta' remains an absorbingly gritty Euro-crime classic from expert genre director, Duccio 'Puzzle' Tessari. There's simply no earthly good reason why this uncommonly adrenalizing 70s revenger shouldn't be mentioned in the very same J&B bated breath as cult favourites, 'High Crime', 'Violent Professionals', or 'Violent Rome' as,'Big Guns' high caliber poliziotteschi, and in some specifically groovy sequences, Duccio Tessari's Teflon tuff, well oiled shoot' em up teasingly usurps them!

Employing the reserved, Martini-cool Gallic master of Alpha understatement, Alain Delon as grieving, pitilessly vengeful, Tony is a casting coup; the frosty-eyed, whippet-lean, enigmatic arbiter of righteous retribution, blazes his balletic trail of brutal revenge deep into the ruinous underbelly of the Cosa Nostra remains a gloriously cathartic experience! I readily admit that the unspectacular premise of a weary hit man striving to break free from the mafia's mercenary clutches is a well-thumbed conceit; but when said coda is so rigorously reinterpreted by the uncommonly talented duo of Delon/Tessari, and throbbingly propelled by a truly lovely, heart-skippingly sexy score from gifted sound-wrangler, Gianni Ferrio, any hint of formula is resolutely quashed beneath Big Gun's stylish torrent of cinematic savvy, and the electrifying charisma of the polo necked prince of retro killer chic, Alain Delon, makes resistance nigh on useless!

No Way Out (original title: Tony Arzenta) (1973), directed by Duccio Tessari, is a gripping neo-noir thriller that marks a high point in Tessari's distinguished career. Starring the enigmatic Alain Delon as a mob hitman seeking to retire, the film plunges viewers into a gritty, suspenseful narrative filled with betrayal, violence, and moral ambiguity. With its compelling story and standout performances, this classic stands as a testament to Tessari's cinematic craftsmanship.

Alain Delon delivers a magnetic performance, embodying a man torn between his violent past and a desire for redemption. His portrayal is understated yet deeply affecting, anchoring the film's tension and emotional weight. The supporting cast, including Richard Conte and Carla Gravina, adds depth to the morally complex world Tessari creates, with characters that feel authentic and impactful.

Visually, the film is a masterclass in 1970s noir aesthetics, featuring shadowy cinematography and meticulously crafted action sequences. Tessari's direction ensures every frame contributes to the film's intense atmosphere, while the pacing maintains a taut balance between moments of quiet reflection and explosive action. The climactic shootouts are choreographed with precision, heightening the stakes as the story hurtles toward its inevitable conclusion.

A highlight of the film is its evocative soundtrack, particularly Ornella Vanoni's *L'appuntamento*, which perfectly complements the melancholic tone and underscores the protagonist's inner turmoil. The music lingers long after the credits roll, enhancing the film's emotional resonance.

No Way Out encapsulates the essence of Tessari's career, blending style, substance, and a profound exploration of human frailty. While its themes of loyalty and vengeance are well-trodden, the film's execution elevates it to a cinematic gem that continues to captivate audiences decades later.

Rating: 8/10. A fitting capstone to Duccio Tessari's career, combining a compelling narrative, masterful direction, and an unforgettable soundtrack.

Hit man revenge film.

A hit man wants out of the mob. The mob double crosses him. He gets some revenge by killing most of those involved.

This film has some strong action scenes. Some good chases. Lots of shooting. It's all done rather well. The acting better than average across the board here.

However, I was not a fan of the ending. I won't spoil it here. You'll either love it or hate it or ...not care either way. I didn't like it. A better ending, and this one could have been something special.

The Eurocrime subgenre was quite popular in the late 60s & early 70s. But in all honesty most of them are cheap and badly made films. Tony Arzenta (Big Guns) is, despite its terrible title, a positive exception. And that is for three reasons: a cool Delon performance, a superb soundtrack and a great 70s atmosphere. The action is not bad, the story is the most standard story out there (former hitman takes revenge on his old employers for killing his family) and the acting is wooden at its best. But there is something about this film that makes it better than most of its fellow Eurocrime flicks.