La race des violents

The scripts of 80s action movies with beefcake mercenaries going on jungle missions aren't exactly rocket science. Also, I never really considered myself to be very dumb person. And yet, "The Violent Breed" was too intelligent for me. At least, I can only come to that conclusion since I didn't understand anything about the relations and intrigues between the three lead characters. First, in Vietnam, they are buddies and save each other's lives. Then, two of them go hunt down the third in Thailand. But then at the end they are buddies again.

Ah well, it doesn't matter all that much. Italian-made "Rambo" rip-offs are already enjoyable and successful if they contain extreme violent massacres and numerous explosions. There's plenty of that, rest assured! Harrison Muller, Woody Strode, and their henchmen, shoot holes in each other's bodies the size of watermelons and two complete mid-jungle villages blow up in the air. Charismatic Henry Silva is sadly underused, but Harrison Muller is a more than adequate Rambo clone with a good taste in woman.

Writer director Fernando Di Leo made some of the very best euro-crime thrillers of the 70s, including "Milano Caliber .9" and "Shoot First, Die Later", and that's probably what I'll remember him for the most. "The Violent Breed" is okay, but could and should have been a lot better.

A reasonably entertaining jungle action turkey. The plot has something to do with with the far east drugs war, CIA, young prostitutes and mercenaries. Fluffy indeed.

Lots of pyrotechnics and gunplay make this one watchable, but bad acting and tremendously bad script work in the other direction.

Released on video in Finland in the early eighties.

Harrison Muller and Woody Strode are reunited after their triumphant 1982 classic "The Final Executioner" for this completely idiotic Italo action non-epic from certified hack Fernando di Leo.

The film begins in Vietnam, with Muller, Strode (who must be the oldest grunt in cinema history), and platoon leader Henry Silva rescuing some children. Silva is shot and Strode digs the bullet out of his chest with a knife in a scene that must be seen to be disbelieved. Then, out of nowhere, Strode (playing a character named "Polo") sends Muller and Silva on their way, while he stays behind.

Turns out Polo is running some kind of drug and prostitution ring based in Thailand that has ties to the Mafia, the KGB, and the CIA. Silva, now a CIA agent, sends top man and chronic Wrangler-wearer Muller to Thailand to stop Polo's reign of nonsensical terror.

Nothing makes sense: Silva recites his lines like he's talking to a 3-year-old, Muller is glib at all the wrong times (he's strung up and about to be killed by Strode, and he keeps asking for a beer), weeks seem to go by, yet Silva (who, despite his top billing, has hardly any screen time after the opening sequence) and the people at the CIA always seem to be wearing the same wardrobe, and Muller & Silva even kiss at one point.

The most jawdropping aspect of the film has to be the extended climactic siege, where Muller and a prostitute take refuge in a brothel while Strode's army attacks. This portion of the film is more drawn out than the live version of "Stairway to Heaven." The action takes place in a small, enclosed camp, with Muller and the girl running from building to building, yet Strode and the most poorly-trained, inefficient platoon this side of "Gomer Pyle USMC" can't seem to see them, and even when they do, they all run after them one at a time, enabling Muller to easily dispose of them.

Add to that a "surprise" ending without a semblance of coherence or sensibility and you've got something that even bad movie purists won't be able to handle.

I really can't understand why everyone is panning this film. I don't usually like "action films" but this one, (along with the non-stop action) held my interest because unlike most of this genre, the characters were unusual and developed enough to be interesting. Harrison Muller, the lead actor, has a great screen presence and does well with this very active role and he gives it a very cool character, so you just have to like him. The situations in the plot were not that obvious to me, so it held my interest throughout when unexpected turns in events occurred. It's true that after the opening sequence Henry Silva was wasted....but the female characters more than made up for it. They added a lot to the story with their widely different personalities. My only negative impression was the startling and preposterous ending. I couldn't quite accept it. Harrison Muller, Jr.'s engaging, energetic performance is indicative of his talent which deserved better showcases than the films he appeared in. They are worth watching only to see him, and he steals every one of them even when acting with bigger named co-stars. It's incredible that he didn't become a bigger star himself.

On a mission in Vietnam Kirk, Mike and Polo are the only survivors of their platoon who rescue a bunch of children, but Polo stays behind when they get to their boat and tells them to leave. Polo happens to be in arms and drug trafficking operation with the KGB and the mafia. Kirk now working for the CIA sends out Mike to Vietnam to stop Polo's enterprise.

What an incoherent mess. The good folks of Cannon produce this very low-rent Italian b-action fodder. Well there's not a whole lot to say about this one, but it's poorly executed and the cast are all but washed up. Woody Strode and Henry Silva go through the motions with such little effort, while the leading man Harrison Muller provides the personality, but his timing seems off. Most the time his running and jumping in or out of windows. Those sneakers of his cop a real work out. Carole Andre's sly part was small, but prominent. The no frills action drags on, especially the film's final standoff where the bad guys have terrible aim and plenty of explosions are assured. The continuous gun fire also made sure that there was some bloody pulp. But boy does it go on, because if feel like its in slow motion! The tempo throughout stays mellow and lacks oomph. How about that conclusion though?! Talk about baffling. The one-man team of Fernando Di Leo who directed and wrote the screenplay and story does a clumsy job on all fronts. The whole premise is slipshod and embarrassingly one-note, and the insipid script chalks up many tacky lines. His blunt direction is quite aimless and clunky. Being shot location in the Philippines gives the film a raw touch and makes it quite ugly to look at. The hybrid sounding music score seems to actually work and fit right in, despite some junky passages.

Never boring, but there's no denying how unbelievably trite it turns out to be.