El policía, el gángster y el violento

Ten-speed-pedaling tough-guy priest (Ventura) and taciturn ex-cop (Hayes) team up to solve a million-dollar bank heist and capture Chicago mobster Joe Snake (Williamson) in Windy City-lensed but Italian-produced action flick. There isn't much here that you haven't seen before, but the production values are appropriately gritty, the action is fast-paced and bloody, and it's nice to see the image-conscious Hammer cast against type as a bad guy. Hayes wrote the musical score as well, and released the soundtrack on Enterprise Records.

I was kind of baffled what Lino Venutra was doing in an Issac Hayes/Fred Williamson film, only to find out this was a Italian film! Lino toplines as a priest who doesn't want to carry a guy, but he is very two fisted, teams up with Isaac Hayes to solve a mystery that all leads to Williamson. Wiliamson doesn't play the good guy, so this is not really three guys fighting for good, it's more like two. Seeing familar character actor Romano Puppo as a thug makes me wonder if all the interior was shot in Rome? Good music by Hayes as numerous Kung-fu films stole it after this film. It's not a bad film, but it's no SHAFT. Check it out if you want to see a standard action film.

This is to my knowledge Lino Ventura's only American production (though directed by an Italian director):it's amazing for an European to see him play opposite Isaac Hayes ,but the pair works quite well.

Ventura portrays a priest ,an updated version of Leo MCCarey's Father O' Maley ("going my way" ) in the seventies ,who does not content himself with celebrating the mass (the way he finishes his second service is very funny) but keeps a close watch on his flock and plays the occasional detective .His colorful character contrasts with his co-star's restrained performance who also wrote the music as he often did at the time.There's also a supporting part of a finally modern bishop.

Good actors ,but a very derivative screenplay however.

He will forever be known to people my age as the man who wrote and sang "Shaft." To the younger generation, he is "Chef" from "Southpark." He is the man Isaac Hayes, and, in his first film, he is running with one of Europe's best character actors, Lino Ventura, as Father Charlie.

Their enemy is the great Fred Williamson (Black Caesar, From Dusk to Dawn), former football star and blaxploitation actor.

Add a lot of Italian actors and an Italian director who worked with Sergio Leone in A Fistful of Dollars, and you have the Italian version of a blaxploitation action flick.

Nothing to write home about, but some fun entertainment.

THREE TOUGH GUYS is a film with varied influences. Made with French and Italian funding, shot in America by an Italian crew and produced by Dino De Laurentiis, it's a movie that attempts to cash-in on two big genres of the time: the blaxploitation film and the gangster epic. Thus we get a buddy-buddy cop story in which a hard-fighting priest and a tough black ex-cop team up to battle some gangster types searching for missing loot. The guy directing this is Duccio Tessari, a guy who pumped out a few peplum and spaghetti western flicks among others during a long and varied career.

Despite – or maybe because of – the diverse influences, this film actually works as a fairly good thriller. It hasn't got much in it that's not been seen elsewhere, but the story moves along quickly and the various shoot-outs and fist-fights are well handled. It also boasts some interesting leads. I don't know who Lino Ventura is, but his hard-bitten priest character is definitely tough. Isaac Hayes, playing opposite him, is a giant of a man with the softest of voices, and contributes some decent music to the proceedings. The third of the tough guys is Fred Williamson, appearing as a little-seen villain in this. It's unusual seeing Williamson cast as a bad guy and I wish he'd been on screen more, but there's no knocking his presence. Character actors familiar from Italian cinema pop up, like William Berger and Jess Hahn.

There are a few car chases thrown in for good measure, along with some antagonistic cops and a fantastic interlude in which one of our heroes is very nearly fed into a furnace. The set-piece finale takes place at a run-down bowling alley, but not before plenty of people have been shot or beaten up. It may not win any awards for wit or originality, but THREE TOUGH GUYS is a perfectly serviceable entry in both the blaxploitation and crime genres.