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I saw this for the first time recently aft reading a glowing review by Coventry n the other factor which pulled me into seeing this is Silva.

They say that this one is the final part of Fernando Di Leo's "Milieu Trilogy" also including Caliber 9 (1972) and The Italian Connection (1972).

I haven't seen the other two but this one ends with a note stating to be continued.

But a sequel was never made.

Silva is very convincing in the role of that of a ruthless hitman who doesn't hesitate to ill treat a hot nymphomaniac n is obsessed with photos of women with big juggs.

The opening scene of the theatre is very brutal n some of the shoot outs are pretty violent.

The only three things which bothers me, how the character of Silva slipped out of the shack?

What was the conversation towards the end just before when the movie ends with a note to be continued.

The movie has lots of unwanted chit chats.

The opening scene from The Boss shows what the 70's Italian crime film was all about. A mafia hit-man wipes out most of a rival family when he fires a grenade launcher at them from the projection booth while they sit back and watch Danish porn. In other words, the genre was about serious action, violence and a distinct lack of subtlety. This opening action duly sets into motion a violent mob war and we are off.

Fernando Di Leo shows here once again, that when it comes to poliziotteschi he was the undoubted master. The Boss is the third in an excellent loose trilogy about Italian organised crime. Milan Calibre 9 and The Italian Connection are the other two entries. This one is more specifically about the Mafia and its machinations. As such it's set in the Mafia homeland of Palermo, Sicily. I like how the poliziotteschi films are so city specific. This gives them all distinctive atmospheres; the city is almost a separate character. But in this flick there is no doubt Henry Silva is the star of the show. He plays the hit-man Nick Lanzetta and shows precisely why he is considered an Italian crime genre great. His stone-faced, monosyllabic approach is perfect for this ruthless character. Lanzetta is certainly one of the hardest screen gangsters ever. The movie basically depicts his rise through the ranks of the Mafia. He, like all the other characters is out for himself alone and he is pretty ruthless in getting to the top. There are no good characters in this film, no matter which side of the law they are on everyone is immoral to at least some degree. I think the Italians are so good at this kind of movie because they seemed to think nothing of populating entire movies with shady characters. It's not just the crime films that do this but a lot of the gialli take the same approach. It works especially well in these noir style flicks though, as they usually are making statements about corruption in the Italian authorities as well as looking at the crime gangs. The Boss does detail some of the inner workings of the Mafia too. But more than anything, this is a film that is so very enjoyable because it is loaded with lots of stylish violent action.

I agree with the only other individual who has commented on this movie, it's a real 'mafia-action' classic from the early seventies and is gritty, well plotted and acted and has a very high body-count !

Our hero (or rather anti-hero), is a hit-man for the mafia, who proves his worth by rubbing-out half of a rival gang, whilst they were enjoying a private screening of some Scandinavian porn, launching grenades from the projection room- into the auditorium.......

I don't want to give away too-much but this film has enough twists and turns -double and treble crosses to keep any fan of the genre glued to the screen.

Also has a great score by Luis E. Bacalov - the main theme comes in times of action and thunders by like an express train carrying an angry Keith Moon, backed with fuzz-guitar, then flips into frantic jazz piano (has to be heard to be appreciated).

Has to be seen too !

Henry Silva again appears in this, the final part of the Mileau Trilogy (along with The Italian Connection and Caliber 9). Three great films by Fernando Di Leo.

While this is the weakest of the three, it is the one closest to my heart as my family comes from Palermo and Camporeale in Sicily. It's a mafia war, and has a heavy influence from The Godfather.

In fact, the top Godfather in this film is Richard Conte, Don Barzini from The Godfather, Antonia Santilli plays Don D'Aniello's daughter, who is kidnapped in the battle. She is a wild child that bonds instantly with the kidnappers.

The one thing I cannot figure from the translation is how Italian police talk about "wankers." Did a Brit do the translation?

The third and final film in Fernando Di Leo's excellent Millieu trilogy, "Il Boss" of 1973 is an absolute masterpiece that easily ranks among the most brilliant Mafia films ever brought to screen. Director Di Leo had created one of Crime Cinema's all-time highlights already with "Milano Calibro 9" in 1972, and while the succeeding "La Mala Ordina" (aka.) "Manhunt" from the same year was still excellent, but slightly inferior, "Il Boss" equals the brilliance of the first film. Unlike its two predecessors, which played in Milan, "Il Boss" takes place in Palermo, Sicily. The film which begins with a memorably brutal opening sequence already, delivers raw action and excessive violence as well as a very realistic insight into corruption and organized crime. The film is tough-minded and uncompromising from the very beginning, and the characters, all of which are brutal, immoral and violent differ not in their moral values, but just in their toughness. The stone- faced Henry Silva in the lead alone makes this film an absolute must-see for every lover of crime cinema. Silva makes the toughest and most charismatic Mafia hit-man ever to have appeared on screen in his leading role of Nick Lanzetta, and the doubtlessly greatest role ever played by Silva, generally one of the greatest actors in Italian crime cinema.

This film, which revolves around power struggles and a kidnapping within Sicily's organized crime, delivers tons of raw action and sadistic violence as well as fine portion of criticism of social circumstances and corruption. Apart from that, it also has a unique atmosphere and gives a stunning and immensely realistic portrayal of the power struggles within the mafia. "Il Boss" is a film of superb, ruthless characters, and equally superb performances. As mentioned above, Henry Silva is one of my favorite actors and he is absolutely brilliant in the leading role of Nick Lanzetta here. Lanzetta is arguably THE toughest Mafia-hit-man character in Cinema-history, and Silva is the perfect, no, the ONLY choice to play the role. Yes, this truly is a film that makes it hard not to talk in superlatives all the time. The other performances are entirely great too, be it Richard Conte as a Mafia Boss, Pier Paolo Capponi, or Spaghetti Western star Gianni Garko, who is excellent in the role of a sleazy corrupt police detective. The ravishing beauty Antonia Santilli is also superb in the female lead as a seductive mobster's daughter, for unknown reasons she sadly didn't appear in too many other films. The brilliant score by Luis Enríquez Bacalov contributes a lot to the film ingenious atmosphere and general mood. Brutal, Tough-Minded and absolutely brilliant "Il Boss" is a personal favorite of mine that easily ranks among the greatest Mafia-flicks ever made! I could go on praising this film for a long time, but I will just finish my review with a recommendation: Watch this film as soon as you can! This is Italian genre-cinema at its finest, and an absolute must see for every lover of Cult-cinema!

French Italian thriller with plenty of action , crisply edition , tension , intrigue , suspenseful , plot twists and loads of violence with reminiscent to ¨Charles Bronson¨ films . The picture deals with the violent and turbulent times when the dangerous mobsters organizations dominated the Italian environments by committing terrible crimes , kidnaps and massacres . As the Mafia war between the Sicilians and the Calabrians results to be the principal character in the yarn . This is a thrilling and twisted flick about the political scene in Italy at the time of the turbulent Seventies . A deadly explosion causing a lot of deaths and it will soon destroy the old equilibrium giving the way to an escalation of violence , as the powerful ganster Cocchi (Richard Conte) is determined to a relentless vendetta . As the matter escalates and rival band members kill each other, a hit-man (Henry Silva) gets trapped in the mafia war . Later on , it occurs the Giuseppe Aniello's (Claudio Nicastro) daughter (Antonia Santilli) kidnapping , but in Palermo things go wrong , as the police is extremely corrupted , and an inspector (Gianni Garco) is assigned by his chief , Questore Vittorio Caprioli , to carry out the complex investigation .

This is an intriguing film that contains noisy action , betrayals , suspense , thrills , twists , turns and anything else .This film results to be one of the best among the whole saga of Poliziottesco that had its splendor in the Seventies and early Eighties . It is an acceptable movie that takes place in ups and downs with surprises and plot twists , but also with unfortunate and unpredictable events . Everything revolves around the unstable highly charged political environment : in the thunderous Italy during those days of civil unrest during the 1970's with the Mafia ruling Calabria and Sicily . The picture depicts violently those thunderous and criminal times . Although failing on occasion to balance the thin line it establishes between perception and reality , offering a semi-realistic look at the priorities and lives of nasty mobsters . Nail-biting and moving Italian Poliziesco with enjoyable acting by main star names , dealing with a killer and an supposedly innocent victim . The film is interesting enough , though it has some flaws , gaps and shortfalls . Stars Henry Silva , as he is nice in his usual way by playing as a contract killer who stumbles into a conspiracy with fateful consequences and the gorgeous but nymphomaniac kidnapped girl performed by Antonia Santilli steals the spectacle by showing some nudism . Henry Silva sports his inimitable and cold style while shots and kills . Silva was born in Brooklyn , New York , and called to Hollywood, he played a succession of heavies in films, including The Bravados (1958), Green mansions (1959), Manchurian Candidate (1962) and Johnny Cool (1963). An Italian producer made Henry an offer he could not refuse--to star as a hero for a change--and he moved his family overseas . As he emigrated to Italy where perfomed Spaghetti Westerns as The Hills Run Red (1966) and White Fang to the Rescue (1975) , but Silva's turning-point picture was Poliziescos sub-genre , such as : Razza violenta, Napoli spera , Fatevi vivi, la polizia non interverra, Milano odia: la polizia non può sparare, which made him a hot box office commodity in Spain, Italy, Germany and France. His popularity was enhanced by a gift for languages. He speaks Italian and Spanish fluently and has a flair for the kind of gritty, realistic roles that also catapulted Charles Bronson to European stardom. Returning to the United States, he co-starred with Frank Sinatra in the film Contract on Cherry Street (1977), then signed on as Buck Rogers' evil adversary Kane in Buck Rogers.

It displays an atmospheric musical score by Luis Enrique Bacalov , who some years later won an Academy Award for The Postman and pablo Neruda. Likewise, an evocative and appropriate cinematography by Franco Villa . The motion picture was professionally directed by Fernando Di Leo , though it has failures and shortcomings. Fernando was a writer and director , being expert on Giallos , Thrillers and poliziesco genre , especially known for The Boys Who Slaughter (1969) , Slaughter Hotel (1971) , Milano calibro 9 (1972) , Black Kingpin (1972), La Seduzione (1973), Il Boss (1973) , The American Connection (1976) , Killer Vs Killers (1985), among others . The flick will appeal to Italian Poliziottesco sub-genre fans.

This movie shows it like it is. In this movie Ferdinando di Leo was brave enough to use real unofficial incidents that were happening at the time,he even used some real names, or changed some by changing only a letter from the name, After this movie came, Ferdinando became paraniod that someone was going to "take care of him" for the content of this movie but nothing happend. This movie is great because, Di Leo doesn't make out the characters to be charismatic role models, but the cold blood assassins they really are. I give this movie 2 thumbs up. Plus and the end of the movie it sais to be continued, but not because theirs going to be a sequel, but becuase he just did a piece of mafia history, and the mafia continues, no good endings or bad endings, just a piece of history.

Watching others Fernando Di Leo's movie, I have been accustomed appreciate his job, though Il Boss wasn't in same level as the previous ones, as in the early sequence at private porn movie, a blast indeed, the storyline is around on two rival mob gangsters, the Sicilian and the Calabrian families, the main point was here, who know as Italian territory works will easily understand such animosity, then after the massacre the vendetta is the right answer, kidnapping, betrays, bribing the police, Richard Conte as the Boss tries control and preserve the business, Henry Silva as leading role is solid as hitman, however kills his own stepfather without mercy, predicting a better upcoming position, the kidnaping girl is a separate chapter, a true nympho girl addicted by drugs, at the ending has a statement "to be continued", anyway a violent offer from Fernando Di Leo, although it was one step behind than Milano Calibro 9!!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 7.5

The first Fernando Di Leo film I've seen, and I heard it was one of his lesser films. But wow, if this is true than I can't wait to see the rest because I am impressed. Firstly it opens with a bloody, explosive scene borrowed from by Quentin Tarantino in "Inglorious Bastards," which makes Quentin's version a tad lamer. After that it doesn't lose its momentum, and were given an hour and a half of cool violence by an Italian hitman with a killer soundtrack playing in the background. The lady love in this film, a nympho, the daughter of the "Don" was also nice to look at. Overall an original film with decent characters and little dull moments. A good poliziotteschi.

The indelibly iconic, 'Il Boss' remains a sinuous, stiletto-sharp, heroically hard-boiled Mafiosi-noir from famed poliziotteschi stylist, Fernando Di Leo. Starring the notably stern, Stoic to the point of terminal rigidity, Henry Silva, delivering yet another coolly charismatic performance as the vicious,ice-veined terror-thug, Nick Lanzetta, with fading Hollywood matinee idol, Richard Conte lending his swarthy, old world gravitas to the meaty role of octogenarian Sicilian king pin, Don Carrasco. All this uniquely explosive, stylishly rendered retribution is excitingly catalysed by another funky, uber infectious score by long-time, Di Leo collaborator, maestro Luis Enriquez Bacalov. 'Il Boss' thunderously remains an absolutely essential, mongoose mean Spaghetti shoot 'em up, and thankfully, Di Leo flinches not a jot from the requisite Mafiosi movie mantra of seriously squib-happy ultra violence! If you have yet to be dazzled by any of maestro, Fernando Di Leo's strikingly stylish, meticulously crafted gangster epics, one should manifestly start here, as the Neolithically nasty, Nick Lanzetta is one of the most mesmerically Machiavellian, blithely blood thirsty hit man to have ever blazed a ballistically bellicose swathe across the Silva screen!

The Boss is the third and final part of Fernando Di Leo's loose trilogy based on organised crime, and it's also the weakest. Milano Calibro 9 and The Italian Connection are without doubt two of the finest examples of this genre, but while this one isn't particularly bad; it's not great either, and despite a number of standout moments; The Boss grinds to a halt on more than one occasion, and I was nowhere near as gripped during this film as I was during the other two parts of this trilogy. The film is more focused on the 'organised crime' angle than the other two films; and The Godfather seems like an obvious influence. The film focuses on a war between two rival mafia families. Things start to get out of control after an attack on the local porn theatre, which leaves a load of gang members dead. Naturally, the wronged gang decides to take revenge for these killings and goes about kidnapping the rival don's daughter Rina Daniello. At the centre of the tale is the Nick Lanzetta, the assassin behind the killings in the theatre.

The film gets off to an explosive start with a sequence that sees the central character blow a load of people away with a grenade launcher. This is somewhat misleading; as a film with an opening like this really promises excitement all the way through, but unfortunately things slow down after that, which really annoyed me. The film does feature some other interesting scenes (including a nice death scene that sees someone get a flick knife in the mouth), but The Boss never manages to top its opening scene. A lot of the film is made of talking, and that's not what I tune into this sort of film for; I prefer my Polizi full blooded and full of car chases and gun fights. Like the superior 'Italian Connection', this film stars Henry Silva. The cult actor made a number of these films, and he suits the hit-man role well. Seasoned Italian cult film actor Richard Conte stars alongside Silva and also does well also. I have to say that I was losing interest by the end, but thankfully the film does have just about enough about it to ensure that it's worth seeing for fans of this usually wonderful genre.

One of his best films from Fernando Di Leo, violent and thrilling, sometimes thought of as the, 'King of the B's', and those were certainly considered the best of the poliziesco films. Known as writer and director early on of one of the best scripted spaghetti western and later for directing these splendid thrillers. Although he made a couple of sexy ones, Asylum Erotica (1971) with Rosalba Neri and Klaus Kinski and really liked, To Be Twenty (1978) with Gloria Guida and Ray Lovelock. But he is really known for these splendid action-packed poliziesco. This is the third of his trilogy, first with Caliber 9 (1972) and The Italian Connection (1972) even if these are thought of as better than this one this is still great and especially has a wonderful turn by Henry Silva. This is the one with the amazing killing in the porno cinema at the beginning and although there is a number of great actors like Richard Conte and the poor girl, who had to be kidnapped, is Antonia Santilli, had been in theatre and as a model and appeared in Playmen, an Italian adult magazine. She does a real performance in this, nude most of the time (a copy of the magazine in the film?) and has a sad ending, although I have to say that such a lot of people die in this one.

Henry de Silva at his best in a role reminescent of early Marvel Punisher completely steals the show in an already absolute masterpiece of cinema. Don't miss it for any reason.

As much as I dislike radical feminism - I am glad something like this could not be made today. Ideal showcase for the classroom. You can literally smell the misogyny.