Die perfekte Erpressung

I may be cynical, but sometimes I look at my collection and see 50 copies of the same movie. Explosions, love interest, conservative "twist" ending, cut! Revolver may be just as derivative of 1970's flicks as the explosion fests of the 21st century are today, but for some reason it was refreshing to watch. I can't see anyone lavishing "rabid fanboy" praise on it, but Revolver was enjoyable, moving at times, and had two great performances. If you thirst for a change of pace, but want to retain the comfortable action standbys of guns and violence, Revolver may be right up your alley. The fantastic extras don't hurt either.

I've never seen a movie quite like this. The best descriptor I can muster is "spaghetti thriller". It's a seventies crime drama with a bit of Dirty Harry, a helping of Reservoir Dogs, a few drops of eau de western, a scoop of melodrama, and a dash of political commentary. Though it oscillates between boredom and epic, Revolver delivers the kind of entertainment that today's movies can only parody. If you buy into the characters, you'll be treated to a satisfying drama. If modern sensibilities prevent that, you can at least enjoy the campier aspects (bad lip synch, fur coats) and delight in the commanding score. The score alone is worth it.

If you are a fan of Sergio Sollima then I don't have to tell you that you will enjoy this film. I am so glad that I have discovered Italian action films from the 1960s and 1970s. I only wish that I could see some of these films on the big screen. There is something special about these films.

Revolver takes the viewer on a sort of chase. There is elements of mystery and action, but during the course of the film the relationship between the two

characters, played by Oliver Reed and Fabio Testi, evolves in a way that brings in drama into the story. Like Sollima's other films, there is fast paced action, violence, and a little bit of sex.

There is a gray area between who is good and bad, and that is something

Sollima has stated in interviews. In fact he has said that he has always been a fan of bad guys because sometimes the good guys mess things up more in the

end then the bad guys. He shows that in Revolver.

Another great and unconventional crime drama from those beloved Italians, this one made by master of class Sergio Sollima (SANDOKAN) and containing a greater depth of plot and character than one might expect from other pulp adventures from the time. This tough flick is great and interesting thanks to the unconventional plot and the raw, almost documentary-style camera work which follows the characters around a variety of European settings. The plot is complex and gets murkier as the film progresses, with multiple characters lurking around the edges who have no clear motives. At times the film ventures into the area of the psychological thriller as it puts the characters through tense situations, at all times leading to a climax that you just know won't be a happy one.

Chief enjoyment comes from unlikely star Oliver Reed, playing a typically gruff character who is forced to confront his morals as the film progresses. Reed is great in the role, especially as he is forced to become more and more emotive as the film goes on, and he really fits into the role of the character nicely so that you forget that he's acting; personally I think this is one of the best performances I've seen from the underrated star. Fabio Testi is the criminal, Milo Ruiz, and puts in a genuinely good performance along with Reed, shining in a part that allows him to play a character rather than a wooden figure for once. The supporting cast is fine, especially Agostina Belli's frightened captive.

BLOOD IN THE STREETS is more plot-centric than most and thus contains a lesser degree of action than you might expect, although Sollima does throw in one outstanding shoot-out in a street for action fans. Nonetheless the sheer level of twists and turns in the plot and the performances make it hugely engrossing. One last thing to mention: there's a fantastic and stylish score by the acclaimed Ennio Morricone which enhances the action no end. This combination of winning elements makes it one to watch.

Revolver (1973)

** 1/2 (out of 4)

Oliver Reed plays Vito Cipriani, a cop turned prison warden who gets a phone call on day telling him that his wife has been kidnapped. If he wants to see his wife again he must help Milo Ruiz (Fabio Testi) escape from prison. The warden and convict manage to get away from the cops but soon they are both trying to figure out who kidnapped the wife.

REVOLVER has two great lead performances as well as a marvelous score by Ennio Morricone but there are all sorts of issues with the screenplay that keep it from being a much better film. I thought the story itself was rather weak and there just wasn't enough here to carry the 110-minute running time, which led the film to running out of gas towards the final act. Unlike a lot of EuroCrime pictures, this one here doesn't have a great amount of action and instead goes for more character development.

I thought the character development was handled quite well and it works because we've got two great actors turning in great performances. Reed is pitch perfect as the warden who soon finds himself willing to turn on his darker side if it means he gets his wife back. I really liked the frantic way Reed played the character and he didn't have to go over the top. Testi gave a very good performance as well and I thought the two had great chemistry together. The screenplay offers both actors some emotional scenes and they both pulled them off wonderfully.

As I said, the performances and the brilliant score make the film worth watching but I really wish there was more to the story than what we got. What action scenes are here are well directed by Sergio Sollima. REVOLVER falls just short of being a good film but it's certainly worth watching.

I've written this down in previous reviews numerous of times already, but it will forever remain relevant & valid: there exist no other types of movies that pump you up with more adrenalin and excitement than the Italian Poliziotteschi movies from the 1970s! I had set tremendously high expectations for this "Revolver" (a.k.a. "Blood in the Streets") and they were definitely fulfilled, although admittedly this wasn't fully the type of film I imagined it would be… By rule, Poliziotteschi movies are tense, raw and extremely violent but not 100% story driven. Just think of the films directed by such genre experts like Umberto Lenzi ("Almost Human", "Violent Naples") or Enzo G. Castellari ("The Big Racket", "Street Law") that are chock-full of spectacular car chases, bloody shootouts and brutal execution sequences, but don't really feature an actual waterproof plot. "Revolver" contains all these delicious cult ingredients as well, but in much smaller portions and instead focuses a lot more on the very realistic and absorbing plot. Vito Cipriani works as the head warden in a prison and has a beautiful wife named Anna. When he returns home from work one day, he discovers that Anna has been kidnapped by unknown men that demand Vito to arrange the release of the relatively small-time crook Milo Ruiz. Vito arranges for Milo to escape from his cell, but then promptly takes him hostage himself, in order to ensure that the kidnappers keep their promise rather than to just kill Anna and flee. Things go wrong quite quickly, especially because Milo honestly doesn't know who would want him to be released from jail and righteously suspects that they are foes rather than friends… Co- writer/director Sergio Sollima might have been the least known and praised Sergio of his generation (next to the legendary Sergio Leone and Sergio Corbucci) but he was undoubtedly multi-talented, creative, intelligent and VERY underrated. The scenario of "Revolver" literally almost bursts with themes like political corruption, abuse of power, betrayal, dark human behavior and shocking confessions. This is the type of movie that doesn't exactly make you cheerful or helps you to restore faith in humanity. Particularly the surprise ending is perplexing and even more depressing! The great (late) Oliver Reed is perfectly cast and it's truly a shame that he didn't travel to Italy more often to appear in Poliziotteschi movies. He receives terrific support from the always reliable Fabio Testi and a few unknown but familiar Italian faces. And then, oh my God, there is the phenomenal soundtrack! The main theme Un Ami/Un Amico definitely ranks among Ennio Morricone's finest pieces of art (and he made many highlights) and it makes me emotional every single time. Fans of more recent extreme cinema will recognize it as well, perhaps, since none other than Quentin Tarantino selected this brilliant song to feature on the soundtrack of "Inglourious Bastards".