Il giorno del Cobra

The glory years of the Italian Poliziottesco (cop/crime thriller) were actually already over in 1980, but we gladly make an exception in case director Enzo G. Castellari and actor Franco Nero team up for another cult effort together. The luscious as always Sybil Danning addresses to Franco's character as Humphrey Bogart at one point, and a more accurate description I couldn't possibly give! At the start of the film, Larry Staziani is a sleazy San Franciscan private eye occupied with stalking unfaithful housewives and locating rich women's lost dogs, but he's called back to his home country of Italy to help arrest a homosexual super-criminal by the name of Kadrinksy (or something). It quickly becomes obvious that Larry also has a personal score to settle with this obscure individual, as his corruptness caused Larry's career downfall and even an imprisonment. Oh well, at least by traveling voluntarily to Italy to settle the vendetta, Larry re-earns his trademark nickname of "The Cobra". This primarily is a film to please Franco's many avid fans, and undeniably he's cooler than cool as the Cobra. He continuously bounces a little toy ball against the heads of his opponents, deliberately ruins millions worth of cocaine right in front of the dealers' eyes, sticks him gum on people's foreheads, slaps women in the face and yet still they throw themselves at his feet not even a mere two minutes later! Nero's vivid performance makes you forget that the plot is actually just mediocre and nothing you haven't seen a dozen times before. There are some occasional flashes of sheer eccentric brilliance, like the Cobra's Kung-Fu battle with a transvestite for example! The dialogs are fluently written and Nero receives excellent support from Danning, veteran actor William Berger and Ennio Girolami (the director's brother) as a sinister killer. There's a fair amount of action, though sadly nothing really sadistic, and the film comes the obligatory catchy theme song entitled "Don't Give a Damn, I am the Cobra". Hell yeah you are, Franco!

"I don't give a damn, I am the Cobra." That is a terrific theme song. Too bad the rest of the movie doesn't come close to High Crime or Street Law. But Day of the Cobra has its moments. Most of these moments are courtesy of Franco Nero. This guy is fun to watch even if he's just endlessly running or descending stairs. I was pretty entertained for about the first third of the film. After that, the plot started to lose some of its sparkle. The whole father/son subplot where we cut to scenes of Nero and his son playing baseball or discussing how they'll "be together forever" just didn't seem to fit. Overall, a good film but not the best Nero/Castellari collaboration.

The Poliziottesco AKA Eurocrime was in last breath period, even so the Italian producers team up Franco Nero and the iconic director Enzo G. Castellari in this weirdo offering entitled Il Giorno del Cobra, unfortunately the screenwriters draw up a far-fetched plot on sugary American oriented when the hero meets his young son at Genoa in Italy playing baseball together in a lovely homecoming with the right to a kiss on the mouth, well the audience has to stand such foolish moment.

The plot broke the boundaries of sanity when a former cop Cobra (Nero) was in jail framed by his superior has to survives as cheap detective in San Francisco, out of the blue the poker face Chief is back offering to Cobra his old position at Police department if Cobra accepts a hard assignment in Italy to struggle with a strong organization of drug dealers and smuggling trying get a double key of safe-box whereby holds the money of the criminals, thus Cobra has to fight with skilled woman-men or whatever they calling it at early eighties, to relief such suffering entering the gorgeous Sybill Danning daintily in sexy outfits on the story, aftermaths it became better.

Certainly Franco Nero wouldn't proud for this weak flick, let's say bearable just for Nero, Danning and Castellari memory at all, the music score is another low point, the outcome is rather beyond of unsatisfying upon any point of view whatsoever.

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First watch: 1997 / How many: 2 / Source: TV-Youtube / Rating: 6.

Like other Enzo Castellari - Franco Nero teamings, this is a case of a routine script directed with flair. Castellari stages plenty of energetic fistfights and chases, and Franco Nero brings some of the qualities that made him a cult favorite - his humor, his athleticism, and of course his accent (IMDB lists the language as Italian, but I think it was filmed, not dubbed, in English). The script, however, is strictly formula stuff; some of the twists I guessed (seriously, is there anyone who has watched even one Italian film before who couldn't guess the fate of Nero's innocent son?), some I did not (Sybil Danning's role turns out to be more important than it appears at first), but generally there is nothing here that you have not seen before. Except maybe for the scene where Nero fights a karate-chopping transvestite, but even something similar to this has happened at least once before - in the beginning of "Thunderball". (**)

At first glance, DAY OF THE COBRA is a spiritual remake of Castellari's genre-defining HIGH CRIME. Both take place in Genoa, both star Franco Nero as a tough-as-nail law enforcement character fighting drug dealers, both feature a kid getting nailed by a car, and a henchman being shot in the groin from below.

Unfortunately this film just doesn't have the same energy going for it. Everything feels markedly smaller and cheaper and the plot goes a bit too far out to be believable with plenty of silly dialog. It also contains some surprisingly poor performances and far too many instances of Enzo alluding to his other, better films. Nero's real life son Carlo acts in the film (as himself basically) but his subplot seems overall unconnected and just strange.

What the film does have are a few exciting foot chase scenes and a silly fistfight between Nero and a transsexual. The main theme song is silly but very hummably infectious and the whole movie moves at a brisk, though casual pace. Sybil Danning provides some welcome if brief nudity, and we learn here that she actually wears high heels in bed. Also worth mentioning is the excellent supporting "dream team" cast of legendary Italian stuntmen such as Rocco Lerro, Massimo Vanni, Angelo Ragusa, and Romano Puppo all allowed to display their respective talents as various henchmen.

Overall though the film is just too pedestrian and mediocre. Probably the least of Castellari/Nero teamings though still a cut above most of the pack of later Eurocrime movies.