Ein achtbarer Mann

It may interest some to know that the score was composed by spaghetti-western and crime flick master Ennio Morricone. For some reason this goes unlisted on the DVD I own but is stated on the beginning credits (and the IMDb file).

The scoring often follows a somewhat formulaic approach that has been taken to quite a few of these films (i.e. recapitulate the theme endlessly), but there are high points. An example would be long scene preceding the film's conclusion, when Wallace is running through a coal factory.

The film itself is fairly entertaining, if not for the antiquated technologies regarded as cutting edge, and Douglas' sharp suits. Features some fairly hairy car-chases esp. considering the lack of special effects but long (and decidedly cheesy) romantic interludes with Anna.

Not spoiling ANYTHING, the movie actually has a great twist and is fairly suspenseful as the characters plan to execute the biggest heist in town.

There's a lot of other, similar, better foreign heist movies from this period, including the French AND HOPE TO DIE, and the Italian LAST CHANCE which I both found much more interesting than this work.

The main thing this one has going for it is once-huge American star Kirk Douglas in a very meaty central role as a super-suave master thief akin to Clooney's character in the recent "Ocean's 11" series. The supporting cast is also good, though underused, with Gemma as a trapeze artist who Douglas tries to recruit into the life of thievery. Wolfgang Preiss (the guy who always plays Nazi bad guys in war movies) plays the main mob boss with Romano Puppo in a satisfying role as his head thug. Puppo and Gemma have numerous fight and chase scenes which are fun to watch but add absolutely nothing to the plot. Speaking of plot, this one conveniently glazes over all the details of the heist, except on how Douglas deals with the security system's sound recorder. His preparations don't appear to be particularly well informed yet he seems unswervingly confident about the whole thing. Hmmm....

He also has a hot girlfriend/wife/lover/whatever Florinda Bolkan... who repeatedly tells him NOT to go through with the heist or she will leave him. These assertions make absolutely no impact on Douglas, who is single-minded in his pursuit of a big score... and then he is surprised later by all the double-crosses.

It's worth tracking down, but not exactly the most cerebral crime caper from the period. A little more realism would have done this film an immeasurable service.

'The Master Touch' (aka) 'Un Uomo Da Rispettare' (1972) is what can be genuinely described as an unsung poliziotteschi classic. Outside of 'Escape From Death Row' (1973) this appears to be director Michele Lupo's only exciting foray into the grimy idiom of Italian crime cinema, and that's a great shame, since maestro, Lupo's pleasingly brisk, stylishly mounted, gloriously acrobatic actioner is arguably up there with the very best of 'em! The engagingly simple premise is slickly handled: Steve Wallace (Kirk Douglas), a seasoned heist expert is encouraged to attempt the seemingly impossible blag of removing $1.000.000 from what initially appears to be a wholly impenetrable fortress masquerading as a bank! Master Touch's stunning set pieces are fashioned with a clockwork precision, Lupo's refreshingly masculine 70s thriller retains its timeless fascination!

What separates this classy offering from many other lesser titles is the hugely charismatic presence of Hollywood icon, Kirk Douglas, whose roguish, insouciant exterior belies the steely heart of a truly exemplary, meticulously minded thief. As Kirk's better half, the always delightful, Florinda Bolkan has, sadly, little to do outside of sporadic brooding, plus a soupçon of crotch-expanding smoulder, yet Bolkan's lustrous presence offers a more than welcome distraction to Master Touch's brawny machismo. The immensely likeable, physically adept, woefully underrated cinematic stud, Giuliano Gemma excels as the agile trapeze artist who is recruited to construct what appears to be a vacuum-tight alibi. Michele Lupo's compelling narrative includes a deliriously destructive, scalp-raising, cacophonous car chase through the dank streets of Hamburg, and the exquisitely shot heist is a veritable Boy's own dream! And it would be an even greater (Euro) crime not to mention the sublime, low key, uniquely atmospheric score by maestro, Ennio Morricone, whose majestic theme adds a terse piquancy to all the square jawed, sweaty-browed, Alpha Male theatrics!

A spaghetti western, or in this case, a spaghetti heist. Starts out as the usual story of someone being released from prison, determined to pull one last job that will set him up for life. Stars kirk douglas as wallace, and a lot of people we've never heard of before. Co-stars florinda bolkan (as the wife) and giuliano gemma (as the "business" partner). It takes a lot of time to get to the actual heist... car chases, car stunts, fist fights. A small, wooden gate that just rips the roof right off a car. Such a poorly made car! Super duper 1970s music, when wallace is home with the wife. All that really matters here is the last thirty minutes. It's set up as a regular bank heist, but there are some interesting twists and turns along the way. Directed by michele lupo, who died young at 56. Kirk douglas lived to 103! And was nominated for three film oscars.

This West German/Italian production seems to capture the pneuma of that most down-beat of hippy years - 1972 so well with its green/grey tones. Vigorous, steely-eyed, cleft-chinned American star Kirk Douglas is in good shape at 55-years-of-age and is professionally excellent. He plays a recently released convict and safecracker, Steve Wallace who is contracted to do one more job on a Hamburg bank which would set him up for life. Vis-a-vis the props used by the Italian set decorator, Francesco Bronzi in the art direction it would seem that he had an eye on the future. Bronzi was the set decorator in the adventure film, ''Burn!'' (1968-1971) starring Marlon Brando. Also, the apparatus and technology used by Wallace and Marco to practise the heist, including a silver triangle, frequency oscillators, sound effects and pulleys give the impression of a cutting-edge physics lesson early-'70s style with a touch of psychedelism, while the impressive sophisticated bank vault itself (''Big Ben'') includes a huge circular steel structure, shimmering chrome and steel panels and a circular steel safe which emerges from the floor to conjure a frozen timeless aspect ca. 1972 which was also the year that Charlton Heston's Antony & Cleopatra, The Darwin Adventure (starring young handsome English actor, Nicholas Clay) and Pocket Money (starring Paul Newman and Lee Marvin) were released. The film evocatively ends in a Hamburg coal-dump located near the docks which evokes the industry of Hamburg at the time. Young cherubic Italian actor, Giuliano Gemma - he of the auburn-hair, hazel eyes and chiseled features is impressive as Wallace's protege - he looks like he is enjoying himself in the company of top-most American star, Douglas. Released in UK cinemas on May 13 1973 and with evocative experimental electronic score possibly by Ennio Morricone.