Diamanti sporchi di sangue

A bottle of J&B Whiskey on the table in the first shot already? Yup, you're watching a Fernando Di Leo movie! This man remains forever on my hero list for making several of the most genius Poliziotesschi thrillers ever made. Nobody - not even other genre deities like Umberto Lenzi or Stelvio Massi - made Italian cop/crime thrillers as relentlessly brutal and as uncompromisingly violent as Di Leo. His triple feature "Milano Caliber .9", "The Italian Connection", and "The Boss" are the best of the best, and several other titles (like "Kidnap Syndicate" and "Shoot First, Die Later") are perplexing films.

"Blood and Diamonds" is also really, really good. Unfortunately, I can't reward it with a rating 9 or 10, because it didn't provide me with the same adrenalin rush or sentiments of excitement as any of the titles mentioned in the previous paragraph, but it's a fantastic thriller from start to finish.

Claudio Cassinelli is sublime as the out-for-vengeance thief who walks through the entire film with a face as angry as a thundercloud! Of course, Guido doesn't have much to smile about. He just spent five long years in prison because he got snitched to the police during his last heist, and he's barely released, or two hired punks rob the bus he's on and mercilessly kill his beloved wife. Guido is convinced that big-shot mafia boss Rizzo is behind all of it and swears to kill him. Meanwhile, Guido's stepson and his feisty girlfriend are planning a diamond heist at the airport, and Guido inevitably gets sucked in.

Di Leo's screenplay is once again very tense, convincing, absorbing, and holding a surprise or two in store. The action is harsh and gritty, with stone cold executions and heists ending in bloodbaths, the direction is tight & surefooted, the soundtrack (by master-composer Luis Bacalov) is exquisite, and the décors and filming locations bring the awesome 70s back to life. But the most impressive quality of "Blood and Diamonds", though, is the great casting choices and ditto performances.

Cassinelli outshines his Poliziotesschi competitors (notably Maurizio Merli and Luc Merenda) on every level with his depiction of embittered, soulless, and infuriated ex-con/thief. Cassinelli starred in too many Italian cult movies to list, but never received the recognition and praise he deserved. He also died too young, in a helicopter crash whilst filming "Atomic Cyborg" in 1986. Martin Balsam portrays godfather Rizzo, and he's great as always, but there are two other performances I'd like to put in the spotlights. First, the ravishing Barbara Bouchet to prove that diamonds are a girl's best friend. Barbara lies, manipulates, strip-dances, and gets slapped in the pretty face. That woman seriously took a lot of beatings in her career. Last, certainly not least, I just must mention Pier Paolo Capponi as Rizzo's psychotic henchman Tony. Usually Capponi plays police inspectors, but he obviously had a blast of a time here as the lunatic.

Just released ex- convict Guido watches his girlfriend get killed on the way home from prison. He thinks the killing is connected with the events that led to him going to jail five years back. Guido starts to investigate...

In many ways a typical late DiLeo- crime film: unimaginative lightning, boring sets, unimpressive action sequences. Yet I think just because of the grittiness of the script, this one easily rises above the other DiLeo- turkeys I've seen.

Decent acting in the form of especially Barbara Bouchet and Guido's main adversary Martin Balsam, who stand out positively. Most importantly, the plot really thickens towards the end climaxing in a truly memorable final scene between Guido and Martin Balsam's Rizzo.

Released on video in Finland in the eighties.

After serving a jail term, a man goes out for revenge on the gang members he considers were to blame for his arrest.

Blood and Diamonds (Diamanti sporchi di sangue) is wonderfully directed by Fernando di Leo, the locations give credence to his crime thriller story and screenplay. Amedeo Giomini's editing is tip-top especially in the action scenes littered throughout.

Steely Claudio Cassinelli is perfectly cast as understated restrained Guido Mauri. Cassinelli (taken before his time in a helicopter accident while filming in 1985) offers a great performance, impressively helping to ground the film even when gun toting or going mano a mano. It's a crying shame, but pivotal to the plot that striking Olga Karlatos' (Zombie Flesh Eaters (1979)) Maria has such little screen time. Karlatos is memorable in the films first act and best setup where a bus is attacked. Stunning Barbara Bouchet is at the top of her game, but is given little to do as club go-go-dancer Lisa. The crime boss Rizzo is played by American acting veteran Martin Balsam (12 Angry Men (1957), Psycho (1960), Breakfast at Tiffany's (1961) to name a few) who is on his usual fine form. Pier Paul Capponi is notable as Rizzo's annoying henchman, who confronts Guido at every opportunity.

It was originally conceived as a name cash-in connection to 'Rome caliber 9' to Di Leo's similar film Caliber 9 (1972). Luis Enriquez Bacalov music is perfect, the action cues notable and reused in Virus (aka Zombie Creeping Flesh and 'Hell of the Living Dead') (1980). As the police harass Guido and the local mafia boss try to get rid of him there's betrayal, shootouts and toplessness. There's a memorable violent garage scene that sets up the third act. Surprisingly it doesn't sell itself out and builds to a poignant low-key ending which works in its favour.

Overall, don't expect an all out Italian action film, it shares more with Get Carter (1971) its slow burning pace may not be for everyone, but this perfectly encapsulates the time and offers a mighty fine brooding turn from Cassinelli.

Laudio Cassanelli is a safe breaker out for one last job when some fink snitches on him. His partner Marco manages to get away, but Claudio himself is banged up for five years. Not only that, when gets out two masked gunman attack the bus he's on and his girlfriend Olga Karlatos is shot in the back. Claudio kills the two bad guys so he's still winning by this point if you're keeping score.

In a permanent bad mood for the entire film, Claudio blames everything on local gangster Rizzo (played immaculately by Martin Balsam as usual). The cops tend to agree with Claudio, but when a crooked cop passes this information on to Rizzo, he sends his right hand man Pier Paolo Capponi to put the squeeze on him.

Further compounding Claudio's low mood and lack of sleep is Olga's son Enzo, who hates him because he got his mother killed. I might have missed it but I think Claudio used to go out with Enzo's girl Barbara Bouchet, who seems to be trying to force Enzo's hand in arranging a big score for a huge amount of diamonds.

That's a lot of plot but it all serves to make Claudio madder and madder until he's striking back at Rizzo, folks are getting plugged left right and centre, and a few twists throw everything up in the air for a remarkable ending.

I'm a big fan of Claudio Cassanelli - he's does moody very well (to be honest I've not seen him do comedy...maybe he was just like that). Martin Balsam, once again, just knocks it out of the park as Rizzo. He constantly shows Claudio respect even though all Claudio does is threaten to kill him and shames him in front of his men. This gives the ending even more clout as Rizzo and Claudio seem to share a father/son bond that Claudio can't find with Enzo. It's unusual to say the least.

Best bit was when Claudio and Pier Paolo Capponi have a violent fight to the death in Barbara Bouchet's house, using all that kitsch seventies decor to try and kill each other. Also of note was the soundtrack, which you'll know as 'that tune Bruno Mattei nicked for Zombie Creeping Flesh'.

Disappointing late entry into the De Leo poliziotesschi canon. An at best functional (but not compelling) plot, low budget, lacking style or swagger, with fairly restrained content and an awful lot of incredibly poor acting give this the feel of a watered down "made for TV" version of his much better early 70s outings.

Worth watching if you're an Italian crime film completist. Otherwise give it a miss.