Von Corleone nach Brooklyn

Umberto Lenzi made some of the best Italian crime thrillers of the seventies. Unfortunately, however, this late entry doesn't rank up alongside his best efforts; but even so, From Corleone to Brooklyn is a breezy and entertaining little thriller that is sure to be appreciated by fans of this genre. The film that had the biggest influence on the Eurocrime genre is most definitely Don Siegal's masterpiece Dirty Harry; but the genre went on to take in elements from many different films; and it would seem that the main influence for this film is the 1977 Clint Eastwood thriller 'The Gauntlet'. As usual, the plot focuses on organised crime in Italy. Maurizio Merli takes up a familiar role as Commissioner Berni (no relation to the better known Commissioner Betti, I think); a cop who puts his life on the line to transport a witness from Corleone to New York City in order to testify against a mob boss on trial for murder. Along the way, Berni and his prisoner face a series of traps set up by the Mafia.

Maurizio Merli may be more than a little bit one-note; but he plays that one note so well that it's difficult to complain. He really does sleepwalk through the film; but it doesn't matter too much because this is still a very entertaining performance from the Eurocrime veteran. Merli is joined by the distinctive Biagio Pelligra and the pair has good chemistry together as they make the perilous journey from Italy to the USA. At just under ninety minutes; the film does feel rather short, however, and I have to say that it's the pacing that really lets it down. The build up to the central plot takes rather a long time and becomes a little tedious. Once we get into the main plot, things start to become a bit more exciting; but most of the film focuses on Italy, and by the time we get to the USA; there's not a great deal of time left. Still, the film is populated with gun fights and car chases and it never gets boring long enough to become really dull. The ending is rather good and there's a nice little sting in the tail. Overall, I wouldn't quite class this film as a 'must see', but it's certainly worth a look and Eurocrime fans will want to track it down.

Like the vast majority of the earth's population, yours truly is currently (May 2020) stuck in confinement at home due to a nasty new little virus called Corona. Also like most people, I'm often on the verge of going berserk, not being able to get out of the house and occasionally escape from (otherwise very lovable) wife and children. But, fortunately, I discovered a very effective method to release stress, and I would like to recommend it to as many people as possible! The secret to surviving this lockdown is reverting to the extreme violence and fast-paced action of the Italian Poliziotesschi from the 1970s, and then preferably those directed by Umberto Lenzi, since he was the undeniable master of this wonderfully twisted exploitation sub-genre.

By 1979, the release year of "From Corleone to Brooklyn", Lenzi had already made more than a dozen euro-crime thrillers, but still he always succeeded in making them refreshingly original, genuinely tense, extraordinary well-scripted and full of exhilarating stunt work. And even though Maurizio Merli never once played another role in his career, he still depicts the role of obsessive police captain with a tremendous amount of passion, energy and persuasion. In this awesome thrill-ride, police commissioner Giorgio Berni (Merli) must escort the apprehended hitman Scalia from Palermo to New York, in order to get him to testify against the fled mafia boss Michele Barresi. The film is called "From Corleone to Brooklyn", but it might as well have been named "Six Million Ways to Die on the Way to the Airport, and another Four Million Ways to Die from the Airport to the Courthouse". Barresi calls upon all his mafia connections to execute Scalia before reaching New York, and Cpt. Berni risks his life, and even that of his loved ones, numerous times to prevent these assassination attempts from happening.

There are several downright terrific sequences, like the virulent chase in the ultra-narrow streets of Palermo or the confrontation in the apartment block's basement, and the film also benefices from superior production values, a proper budget, a sublime soundtrack and a stellar supportive cast (including Van Johnson). Bring on the next confinement week!

From Corleone To Brookln is one of Umberto Lenzi's best crime films, which is saying lot because he directed many classics in the genre.

Maurizio Merli plays Berni, the usual P.O. cop, and here he has to escort a lowlife criminal (Biagio Pellegra) from Italy to New York so he can testify against a mafia head.

the mafia have set up a series of traps along the way, making things a bit difficult for the boys.

at times very suspenseful, action packed and helped along by one of composer Franco Micalizzi's best scores, From Corleone To Brooklyn gets my highest recommendation.

sadly, this would be the last "real" crime film Lenzi would make, but at least he went out with a bang!

This is one of those few films I wish would be discussed in more detail, but it fits in such a niche of a market that I doubt it'll ever happen.

In the 1970's, it wasn't uncommon for Italian B-movies to shoot a few exteriors in New York City but quite rare for the poliziotteschi genre. Sure there's a few films like STREET PEOPLE, BLAZING MAGNUMS, and STATELINE MOTEL but for the most part tried to play themselves off (unsuccessfully) as American movies.

As Umberto Lenzi's only cross-pond crime movie excursion and only teaming with famous Neapolitan crooner Mario Merola, this film stands out for several reasons. One, it's odd to see a eurocrime movie starring Maurizio Merli so focused on plot and characters. From start to finish, there's a single narrative thrust and tension running high throughout and even some personal investment on whether the characters live, die, or finally face sweet justice for their transgressions.

Secondly, it's almost more of a travelogue than an action movie. The film has no less than 4 sequences where characters sit in a car and look around while intercutting to a lot of filler footage of street scenes filmed from a moving car. While this sort of thing usually drags a B-movie down, it oddly fits in with the gritty, trashy feeling this film evokes from the sloppy cinematography and chaotic and funky score by Franco Micalizzi. You can either look at it as a more bizarre, improvised version of a Lenzi movie or a really polished version of an Alfonso Brescia-helmed scungy crime drama.

That said, there's plenty about this movie that really doesn't make sense (unless something was lost in translation). Why does Merli have to escort his witness by rail and car from Palermo all the way to Rome first in order to fly to New York? Surely in 1979 there had to be at least a few direct flights from Palermo to New York, or at least to Rome? Well, if they'd have just hopped on a plane at the start, it wouldn't have been the same movie. However I'd wager that it could only have been better as the film really picks up the most once it plops macho Italian crimefighter Maurizio Merli on American shores in the snowy, garbage-strewn, hoodlum-infested streets of 70's NYC.

An Italian mobster movie that, although a fine film, could have been an absolute classic. Cop Maurizio Merli (aka the Marlboro Man) pursues Mafia 'Don' Michele Barresi across two continents after the kingpin guns down a rival. He travels from Milan to New York City with a witness in his custody, the only man who has the power to identify Barresi as the shooter. On the way from Milan though it's a rough journey as shooters try to take them out at every turn. The only downfall here is the pacing, spending way too much time in Italy, when by far the movie's most effective scenes are the ones in New York, where the city is captured so brilliantly in all it's vintage glory. So much time is spent running through Italy, and on the usual romantic interlude between cop Merli and his ex-wife. This portion of the film is perfectly fine but causes things to sag a bit in the middle, as the last half hour, the New York portion, is electrifying by comparison. Plus the writer of "From Corleone to Brooklyn" would have us believe that in order to get from Milan to New York, you first need to take a train and then a bus from Milan to Rome, which isn't accurate. While this is an above average crime thriller, I believe if the two had taken a direct flight from Milan to New york and spent the bulk of their time in the city, this could have an absolute classic. Still a fun ride and worth tracking down. Legendary pulp director Umberto Lenzi made a bunch of these crime dramas, and this is one of his finest, featuring all the bloody shootouts and high energy chase scenes that fans would expect, including an impressive car chase through the extremely narrow cobble stone side streets of Milan, littered with pedestrians. Lots of great mob lingo and double crosses and of course, done with the style of the best films of the era. From what I have read people tend to look for the Italian language version of the movie, which makes sense. However large portions of this one seem to filmed in English, with live sound, so the English language version should not be dismissed. In any language this is a great ride.