Città violenta

This is a very underrated gangster pic that stars "Old Stoneface" himself. The plot is standard revenge fodder with a few twists added in for fun. It's pretty fast paced in it's execution and Morricone score is weird and atmostpheric. This is one of Charlie's better 70's efforts and the final scene is great filmmaking. It's too bad Ms. Ireland's nude scenes were cut out (only her midsection and cleavage are shown before cutting to the next scene) cause she can't act worth a damn.

***

Uh-oh! We've got a hit-man here who has fallen in love and wants to go straight – we all know that there's only one way to leave the mob, right? Bronson is the hit-man and Jill Ireland is the chick who's turned his head, and after one of my favourite credit sequences ever where we see Bronson under observation to a kick-ass Morricone soundtrack, a bunch of guys turn up to waste our stone-face killer. One car chase and a double-cross later, Bronson's having bullets pulled out of him and sent to jail for a while.

It gives him plenty of time to stew over what's happened. Seems the last guy who hired to him to kill someone has double-crossed him and somehow his missus seems to be involved. Being a 'let bygones be bygones' kind of guy, Bronson's first task upon being released from jail is to try and track down these two and kill them both.

Luckily for us his past-employer is also a race car driver! That gives us a lengthy sequence at a race track where Bronson scopes out a good place to take out this guy with a sniper rifle, a sequence which is dialogue free and lasts about ten minutes. Also, it takes place under a huge advertisement for Pan-Am airlines, so I guess they were fitting the bill for the film, or Sergio Sollima was just a big fan of that airline.

Once this guy has been incinerated, Bronson starts receiving pictures of him setting up the kill at the race track, and realizes that starting a new life won't be so easy after all…

Those expecting an action-packed film with Bronson taking down waves of bad guys would probably be better switching the film off around the ten minute mark because the film is more about Bronson brooding about his relationship with Jill Ireland and arguing with Telly Savalas (a mob boss who is blackmailing Bronson and wants to hire Bronson full time). Savalas is good here as a seemingly legit-businessman who may be telling more home truths than Bronson wishes to hear.

Set possibly in New Orleans and Detroit Michigan at the same time (I was a bit confused by that), the film looks great, sounds great and for the first half is great, but be warned that pace slows way down before you get to the grim ending. Also, the version I watched had eight minutes of extra footage added in Italian with English subtitles that seems to add a bit more depth to the proceedings.

For the mopiest hit-man that wants to leave the mob, look out for Tony Arzenta!

First of all i must admit that i'm a Charles Bronson fan and have been for quite a while. I have seen a lot of his films including all of them made after Violent City. So when i came across the movie being released on DVD and i was still yet to see it, i was quick to buy it. The DVD is presented in a fantastic format (trailer, production and movie stills, 15 minute interview with the director and cast and crew backgrounds). The movie is structured in a very unique way. Being an Italian/French coproduction and filmed largely in New Orleans the film consists of English and Italian dialogue to satisfy both cultures and uses flashback scenes to illustrate what is a very straightforward story of hitmen and mobsters and doublecrossings. The music score is by Ennio Morricone and as expected first rate. The cast is headed by Bronson. He doesn't talk much in this movie, more so than in his other outings and uses more of a physical style of acting with many close ups on his charactaristic face. He does well as usual. Telly Savalas has a small, but important role as the head of his "family". His philosiphies to Bronson are interesting. And Jill Ireland as Vanessa is truly seductive. She has never looked more beautiful than in this movie and you get to see plenty of her in this version. Her acting is not great but not too bad compared to some of her later stuff with her husband. As a whole i wasn't expecting too much but "Violent City" is quite under-rated and does have some very good scenes including a car chase, a sniper scene and the very well done ending. There are no good guys in this movie, but it is truthful. I give it a 7 out of 10, but i don't know if non-Bronson fans would enjoy it as much. I hope they continue to put more of Charlie's films on DVD and done in a similar way. Particularly "Rider On The Rain", "The Mechanic", "The Valachi Papers" and the little known Bronson/Curtis "You Can't Win 'Em All.

There's absolutely no way that any movie can start off better than "Violent City". Charlie Bronson on a yacht with a ravishing blond chick, then moving onto land where the couple immediately gets subjected to a wild car chase through extremely narrow streets (and over stairs!) and ending with a violent shootout! And all this time not a single word is being spoken by anyone and all we here are the sounds of squeaking tires, snorting car engines and Ennio Moricone's umpteenth fabulous soundtrack. The first ten minutes of "Violent City" are so damn brilliant I was even tempted to stop watching the film because I honestly feared things could only go downwards from that point, ha! Luckily it didn't. Sure the pacing slowed down a bit (only a little bit, mind you) but a great film unfolds itself, with a simplistic but nevertheless compelling plot, gritty atmosphere and terrific acting performances by Charles Bronson (as the silent as always but deadly killer), Telly Savalas (as the sneering, sleazy and eccentric super-villain) and Jill Ireland (as the bimbo who appears to screw around with half of the city). Jeff is a retiring hit man who completes one more personal killing job when a former friend double-crosses him, leaves him for dead and runs off with his lady friend. Jeff's spectacular payback, executed at a race car circuit) gets him noticed by the big boss of the city's organized crime network. He wants Jeff to be a part of his successful crime-family, and when he refuses an exhilarating and testosterone-packed cat and mouse game ensues. The plot isn't highly original, but several independent sequences are magnificent, like the aforementioned opening, the intense finale or – most of all – the scene where Vanessa gets introduced to Weber (Savalas) in a restaurant. Sergio Sollima is a gifted director, who primarily earned his fame in the spaghetti western genre ("The Big Gundown" and "Run Man Run"). That's also exactly what "Violent City" often resembles; a gritty urban western with Bronson in his familiar role of lone outlaw passing through a town where no one can be trusted. If I understood correctly, the titular violent city is supposed to be Michigan, where strangely everyone speaks a combination of English and Italian. Funny detail on the Dutch DVD-release is that the dubbing is incomplete. Some of the dialogs start in English but halfway the conversation swifts to Italian and back to English again. Not at all bothering, especially not in case you looked forward to this movie as much as I did.

Director Sollima first forsook the Western genre with this stylish gangster drama: its complex revenge plot is, basically, a combination of two seminal American noirs – OUT OF THE PAST (1947) and POINT BLANK (1967). The end result is overlong and deliberately-paced – but the second half generates considerable tension, and the action sequences (particularly the opening car chase, a racing-car ‘accident’ and the climactic shoot-out in a rising elevator which, incidentally, are all the more effective for being completely dialogue-free) are undeniably well-staged and exciting.

The film also provided its star, Charles Bronson, with a virtual template for all his subsequent vehicles; though his real-life wife Jill Ireland (who appears in a surprising number of nude scenes) doesn’t quite cut it as a femme fatale, the couple’s chemistry is more than evident and gives credence to the on/off romance which essentially drives the narrative. Also in the cast: Telly Savalas (in his all-too-typical role of crime kingpin), Umberto Orsini (as a shady lawyer) and Michel Constantin (as Bronson’s ageing junkie pal). Beneficial, too, is the unusual New Orleans setting – and the remaining credentials are certainly imposing: “Euro Cult” fixture Ennio Morricone’s score is excellent (but, again, the main theme is awfully similar to that of REVOLVER [1973] and THE UNTOUCHABLES [1987]!); renowned cinematographer Aldo Tonti; and, most astonishingly, co-screenwriter Lina Wertmuller.

The DVD features an informative 15-minute interview with Sollima, in which he discusses how he became involved with the project: invariably, he had found the original script terrible but was eventually lured by the opportunity of a U.S. shoot, mentions that the lead roles were originally intended for Jon Voight and Sharon Tate(!), and even recalls an amusing anecdote which sums up Morricone’s attitude to films.