No Way Out

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.

Stylish, moody, innovative revenge-driven bloodbath. Also cheesy, of course, and sporadically very cheesy. It reminded me a lot of The Big Heat because it has the revenge plot set off by the exact same event, and the girl comes around to the good guy's side because of the same bad behavior by the bad guy. It's sad there's no Gloria Grahame but so fantastic that it's Alain Delon and not Glenn Ford. Could there be anyone as beautiful as Alain going around in a cashmere sweater and trenchcoat? Yet he's totally tough and icy cool. No one nowadays can touch him--though someone like Jude Law could try I guess. Hard for any girl to look good with him. The music was funky and perfect and there were several excellent car chases (and those aren't generally my cup of tea)--especially one willy nilly one in the woods. People also met their dooms in creative and bloody fashion, for instance in a junkyard cruncher. But beyond the cheese, the overall atmosphere was affecting and expertly pulled off. More creativity, excitement and freshness in that "forgotten" movie than most of what I've seen lately.

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.

At the start of this film, hit-man Tony Arzenta wishes his son many future birthdays, so you kind of know how that's gonna work out...eh? One accidentally blown up family later, Tony's out to get everyone involved. All he wanted to do was leave the mob, but we all know that there's only one way to leave the mob, and that's by industrial tribunal...no wait...

What made this film stand out for me is the overwhelming sense of style that is apparent in every frame. The primary colours are played out with precision in every scene, from the decor, to the clothing, to parked cars, everything is decked out in yellow, blue, or red. Watch the film and see what I mean. An immense amount of detail has gone into the cinematography here, and that makes the film worth watching.

Other than that - our leading man in icy and laid back, but it's Richard Conte who stands out for me as the mafia don. He's world weary and genuinely shocked that the mafia have accidentally killed a woman and a child, and his whole approach to the Tony Arzenta problem is handled in a business-like, resigned manner. Conte is great here, just like he was in The Violent Professionals.

This is a classic and was unknown to me until I received it as part of an Italian Crime Movie box set. One of the best (in my opinion, of course).