SnoReptilePlenty Memorable, crazy movie

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

ThrillMessage There are better movies of two hours length. I loved the actress'performance.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

ma-cortes A pair of thieves called Mosquito (Franco Nero) and Memphis (an extreme Tour-De-Force by Telly Savalas) pull off a heist into a jewelry but it goes wrong . Both of them along with their accomplice called Maria (Ely Galleani) escape and take a car where is hidden a little boy (Mark Lester , also producer) . They are pursued and attempt to cross the border into France . Memphis thinks his colleagues may have double-crossed him , so he goes on the lam with the boy in tow and he carries out a criminal spree .This is a thrilling tale with a twisted screenplay by D'Amico and Wells based on a story by Rafael Sanchez Campoy ; it contains psychological characterization , grisly killings , tense situations , excitement , though resulting to be a mediocre flick dealing with a failed theft and the thieves take it on the lam after the heist goes awry . This thriller has some delirious components, most notably the interpretation and the quirky roles , but is low on real emotions and high on scenery chewing and strangeness . It's atmospheric and slickly developed ; however extremely nasty characters and dark disturbing scenes create an inappropriate film . There are moments worth highlighting though like the violent theft and escape , a great sequence where Memphis terrorises a family of German tourists with unexpected and tragic results . This is an offbeat as well as far-fetched picture realized in unlikely style portraying lurid events . Telly Savalas steals the show as a wacko with ominous purports , though sometimes hands the role overblown and overacting way , as filmmaker Silvio Narizzano proved unable to control him . Average cinematography by Giorgio Tonti , being necessary a right remastering because of the copy of the film is washed-out . Atmosheric musical score by Maurizio Catalano and John Cavacas . The motion picture was middlingly produced and directed by Canadian-born director Silvio Narizzano . He gained high reputation for his shooting of human dramas , as from the mid-1950's, worked in British television in a variety of genres ranging from thrillers and horror to serious dramatic works . Silvio subsequently filmed a Hammer film titled ¨Fanatic¨ with Tallulah Bankhead and his best picture was ¨Georgy Girl¨ with Lynn Redgrave . He also had successes with ¨Why shoot the teacher ?¨ and ¨The class of Miss MacMichael¨ ; however failed directing a Western titled ¨Blue¨ with Terence Stamp . The rest of career has been uneven to say the least and it often seems that he has followed over-heating his movies to fever level such as ¨Rednecks¨ also titled ¨Senza Ragione¨.

Woodyanders Blundering hoodlum Mosquito (the ever-cool Franco Nero) and his loud, volatile, obnoxious hillbilly psycho partner Memphis (an outrageously hammy Telly Savalas) botch a jewelry store heist. The incompetent duo steal a car and inadvertently kidnap proper and pampered rich lad Lennox Duncan (well played by Mark Lester of "Oliver" fame). Mosquito's meek, whiny girlfriend Maria (the lovely Ely Galleani) tags along for the ride. Naturally, Lennox falls under the evil influence of the two slimy crooks. Director Silvio Narizzano, working from an unapologetically sick and sordid script by Masolino D'Amico and Win Wells, whips up an extremely odd, harsh, and downright repulsive flick that gleefully wallows in excessively bloody and sadistic violence, shocking brutal behavior, and a truly wicked sense of grimly ironic humor. The coarse, rough, and nasty tone gets more vile and upsetting as the seamy story unfolds towards its perfectly depressing bummer ending. Savalas has an absolute field day with his gloriously unrestrained eye-rolling portrayal of the manic and unhinged Memphis: Telly mangles an overdone Southern accent, shoots a little boy dead, gets kicked right where it counts by Lennox, smokes a joint, sings, cries, kills a mangy crippled dog, and even massacres an entire family by pushing their trailer home into a lake so they can all drown. Moreover, there's a bizarre homoerotic undercurrent in the relationship between Mosquito and Lennox which adds an extra freaky edge to the already depraved proceedings. Both Giorgio Tonti's slick, agile cinematography and Maurizio Catalano's eclectic, melodic score are up to par. A satisfying serving of raw and offensive low-grade sleaze.

MARIO GAUCI This proved to be a rare case of a poliziottesco made with British funding; unfortunately, the result is undistinguished (except by its exceeding unpleasantness and borderline-camp approach) despite stars and director. The former is led by a wooden Franco Nero and an ultra-hammy Telly Savalas as a couple of would-be robbers (if anyone is able to believe either actor – who generally exude cool – as a duo of bumbling crooks, he's more gullible than I am!).Their 'job' goes awry (ending in murder and saddled with cases of cutlery instead of jewels!) – however, the mismatched criminals see an opening to their dilemma when they inadvertently 'kidnap' the son of a British diplomat (a miscast Lester, who even gets to kick trigger-happy Savalas where it hurts at one point). Still, they never actually ransom him and their sole intent is to cross the border into France; tagging along with them is Nero's girlfriend (a wasted Ely Galleani): soon enough, though, she's had enough and decides to run away while the others are sleeping; the crazy Savalas notices this and, following the girl, kills her. In the meantime, Nero and Lester have woken up – the former thinks his accomplices may have double-crossed him, so he goes on the lam with the boy in tow; after a brief spell at a rich old lady's country estate (which features totally gratuitous rear nudes by both Nero and Lester!), Savalas catches up with them. They continue their trek, where the trio run into a family of German campers: the situation degenerates to the point where Savalas shuts them inside their trailer and tosses the lot into the river – though he's badly hurt in the process himself; typically, it all ends with the 'heavies' getting killed just as they're about to reach the border.The film, therefore, contains most of the genre's typical elements – sleaze, sadism, violence, chases (the aftermath of the opening robbery when the getaway car causes havoc in the city's narrow back-streets and even disrupts a funeral procession is downright farcical), etc.; one mildly interesting aspect to it is that, by the end, Lester himself is seen to have been definitely (irrevocably?) marked by the experience – coming to feel excitement when an act of violence is committed.

sdiner82 In the mid-1970s, my NYC apt. building was finally wired for cable-TV and since Showtime (instead of HBO) was the only premium channel offered showing recent movies, I signed up for it. Being a writer and night-owl by nature, I soon discovered the channel was showing movies late at night and until the wee hours of the morning I'd never even heard of--most of them American independent films and foreign films that had never been given a U.S. theatrical release. Many of them had recognizable "star" casts and respectable directors, and thanks to Showtime, I discovered many first-rate films I (and other Showtime subscribers) would never else have had the opportunity to see. Most of these cinematic mongrels were indeed "dogs" but often so bad they were unintentionally hilarious. One night, Showtime unveiled a little Italian-made gem called "Redneck" (filmed in 1972, given a limited European release in 1973). Even though the movie had never been released in the U.S., the MPAA rating was listed as an 'R'. Since the director was one Sylvio Narizzano (the director who made his name with the glorious "Georgy Girl"), and the three leads were Mark ("Oliver") Lester, Fabio Testi and Telly Savalas, I decided to give it a try. And found myself nailed to my TV screen in disbelief for 89 minutes. As I recall, Savalas and Testi played two criminals, the former a raging maniac who, in one stomach-churning scene, casually sent a German family to their deaths by nudging their trailer off a cliff, thereby plunging to the wilderness depths below. So far, so bad. Then, out of nowhere, Testi (as the "nice" psycho) and Lester (all of 14 when the movie was made) are seen, both nude, in a men's room, Testi sneaking peeks at the kid's body while shaving, and poor confused Lester fixated on close-ups of Testi's naked butt. As a not-yet-jaded member of the movie industry, and a card-carrying liberal (I was as much against censorship then as I am today), the entire movie made me queasy (and, being the early '70s when I thoughtI'd seen everything in the anything-goes movies of that liberated era--including the uncut version of Altman's "That Cold Day in the Park", a real jaw-dropper until it was trimmed for an 'R' rating and would have spelled The End for Altman's career had he not next come up with something called "M*A*S*H"), I still wonder if anyone else except me ever saw "Redneck" and was appalled as I was. Trashing the actors and movie-going audiences is joy maladjusted filmmakers have been merrily indulging in since the beginning of time. But leeringly exploiting a highly respected and talented child actor (Mr. Lester) at a time when he was beginning to make the difficult transaction from child to adult actor (and I'm sure his film offers had thereby dwindled to meretricious junk like "Redneck")...Mr. Narizzano, you should be hanging your head in shame. (Incidentally, I was soon to make friends with actors who had appeared in Narizzano's future, undistinguished efforts. They both despised him. Surprise?)