Luciana Paluzzi plays dead as Woody Strode seeks his quarry in Fernando di Leo’s THE ITALIAN CONNECTION.
flips out. Chasing the truck, he jumps on the hood and smashes the windshield with his head. After a 400-block chase, which is the picture’s only real action merit, he pins the killer to a wall with a spike. Then he shoots all of Celi’s henchmen and Celi himself. At an auto junkyard, Adorf wipes out both Silva and Strode despite being shot several times and having a wrecked car fall on his shoulder. As flatly directed by Fernando di Leo, it all
looks as ridiculous as it sounds—and thanks to the unintentionally funny dubbed dialogue, it sounds plenty ridiculous. Indeed the entire dated affair, which takes place in a quaint-looking world of crowded discothèques and frizzy blue- haired signorinas, is in the most lackluster tra- dition of ersatz European versions of American genre films. Luciana Paluzzi has a peripheral role whose sole function seems to be to pro- vide another corpse, and Cyril Cusack’s cameo as a crime overlord calls only for him to stand behind a desk and talk into the telephone. The original title was MANHUNT IN MILAN.
1972. La mala ordina. AIP-Hallmark Releasing (Daunia 70-Hermes Synchron Coproduction). Eastman Color by Telecolor. 95 minutes. Mario Adorf, Henry Silva, Woody Strode, Adolfo Celi, Franco Fabrizi. Directed by Fernando di Leo.
Xenon Studios released this film on VHS in 1998 under the retitling BLACK KINGPIN. A properly formatted DVD has been issued by Starmaker Home Entertainment, where the picture is known as MAFIABOSS.
THE LIBERTINE
Slick, slow-paced sexploitation item should draw OK response from skinflick fanciers. Not Rated.
Notable only for its agreeable display of the 34-
24-34 charms of actress Catherine Spaak, THE LIB- ERTINE manages to deliver enough of the right anatomical ingredients to make the Italian-made Audubon release a resounding success in metro- politan sex/art situations. Scenes of flagellation, near- rape and frontal nudity—infrequent as they
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