Blutrausch - Dreckige Wölfe

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?)

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¨.

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.

This is truly a marmite film - people love it for the madness that's contained within, and other people hate it and dismiss it as a foul piece of exploitation. It's a Euro-crime film but only barely, as it's really a twisted road trip film with a bunch of weird characters.

Franco Nero plays dumb robber Mosquito, who hooks up with insane robber Memphis (Telly Savalas) in order to rob a jewellery store. After being in the store about ten seconds, Memphis loses his rag and shoots the owner multiple times, setting off the alarm and causing the robbers to grab the nearest cases and run. Things go from bad to worse when dumb getaway driver Ely Galleani crashes the car straight into a hearse, causing a coffin to smash through the window. After further crashing in a market, the trio finally grab another car from a rich lady and set off into the countryside, making for the border.

This isn't as easy as it first seems, as it turns out that they have unwittingly taken the rich lady's son with them as he was hiding in the back of the car. After a strangely slapstick scene of the trio chasing Mark Lester around a field (where he kicks Telly Savalas in the balls) we see why people might hate this film. When he finds out he's being watched by a young Shepherd boy, Telly Savalas coldly murders him - then blames the Shepherd boy for running away!

Yep, this is grim stuff alright. We also find out that Lester's parents are so removed from their child that they cannot agree on what age he is, so he's not exactly the most stable child either. The mother however does identify both Memphis and Mousqito, and a huge manhunt ensues. After the discovery that they have stolen a load of useless cutlery, things become even more strained, and Memphis becomes even more unhinged as everyone heads for the border...

Although Telly Savalas' southern accent comes and goes, his performance as a nutcase is really quite good. He often sings to himself, refers to things his mother told him, and constantly blames other people when he murders folks, including the dead people themselves. He also spends the last third of the film with his scrotum ripped open for some reason.

Nero's character is less insane but still as strange. I guess most people will be wondering why his character shaves naked in front of Mark Lester, and to be honest it is a head scratcher, but I guess the best answer is 'It was the Seventies'. Ely Galleani has a larger role than usual too, and when she is murdered by Savalas (spoilers), Nero ends up wearing her fur coat for the rest of the film. Also - check out the guy on the IMDB who is offended by the nude scene but goes into minute detail about the whole thing, while also constantly referring to actor Franco Nero as actor Fabio Testi - maybe if they spent more time looking at the actor and not the actor's arse they might have noticed that. Methinks the lady doth protest too much.

Anyway - strange film, strange decade, I enjoyed it. Stimmerung!

In my long and numerous years as an exploitation fanatic, I've seen many weird films, but this "Redneck" is weird with a capital W. One thing's for sure, the scenario is poor and unworthy of the talents of the two lead actors, but the strange mix of cruel killings and eccentric character behavior somehow keeps you glued to the screen. The original title translates as "Without Reason" and is definitely more suitable than "Redneck". In my dictionary, a redneck still is a toothless, small-town hick, and nobody in the film fits that description. It's a compound of poliziotesschi thriller and kidnapping drama, funded by both British and Italian money and starring two international top stars (Franco "Django" Nero, Telly "Blofeld" Savalas) as well as an upcoming young talent (Mark "Oliver" Lester).

The film starts more than promising, with Nero and Savalas robbing a jewelry store in a busy city center. The heist goes awry, naturally, and they do not only end up killing the store clerk but also crash the getaway car subsequently into a hearse and a fruit & vegetable stand at the local market. They hijack a car, unaware there's a boy in the backseat. He, Lennox, turns out to be the son of a prominent diplomat, so the police and media automatically assumes it's a deliberate kidnapping for ransom. So far, this all sounds like a good and fun, albeit derivative, poliziotesschi. The plot then goes bonkers. They get separated, and Nero develops a sort of father/son bond with the kid whilst Savalas joyously pushes dead ladies in automobiles from cliffs.

The two things (actually, one thing) that make "Senza Ragione" fascinating are the multiple cruel and downright shocking murders of innocent people, and Savalas' completely surreal and unpredictable reactions to these murders! His character - Memphis - commits the vilest and cold-hearted crimes, but immediately after he sentimentally bursts into tears and shouts to the heavens that it wasn't his fault. Memphis is a very strange being altogether, who sings at the most inappropriate moments and talks with a hideous Southern accent. I also presume he's an oppressed homosexual, or at least someone struggling with a severe identity crisis. The ambiguity, and the unanswered questions, make it even more unforgivable that "Senza Ragione" contains so many dull moments, though.