Rubare alla mafia è un suicidio

Unlike in most reviews there are to find on "Across 110th Street", I will try not to participate in the debate about whether or not the film classifies as a genuine Blaxploitation effort. I will, however, elaborate as much as I can on all the things that "Across 110th" does represent … and that is quite a lot! This is a bona fide gritty, vile, uncompromising and unceasingly violent action-thriller from the glorious early 70's. It's a hardcore-to-the-bone tale of corruptness and survival with solid acting performances and a tight screenplay, yet without pushy morality lessons or unnecessary sentimental interludes. "Across 110th Street" is arguably the best Blacks Vs Italians thriller ever made, and this intervened with a strong story about two completely unmatchable cops that are forced to work together results in an unimaginably powerful and unforgettable movie; albeit one that only can be enjoyed by people with strong stomachs and nerves of steel as the bloodshed is relentless and the level of suspense is unremitting. Petty thief Jim Harris and his two accomplices decide to steal a large sum of money from the Italian Mafiosi that are running the show in Harlem. The heist goes terribly wrong, though, and Harris kills no less than five gangsters and two police officers. The Italians send their most lethal psychopath to Harlem and the black gangster community organizes their own manhunt as well. Meanwhile the police force deals with internal racial issues. The aging and corrupt but veteran Captain Mattelli is forced to hand over the investigation to Lieutenant Pope, who's fresh out of university and still full of ideals. This is one of the grittiest and frighteningly realistic depictions of the crime-infested New York City district during the early 70's. There are hardly any amiable characters in the entire film, the ambiance is constantly on the verge of depressing and the downbeat ending comes a massive slap in the face. The racial tension between the "main" police officer characters is always present and noticeable, yet moral values and speeches are never shoved down the viewers' throats. The performances are incredible, particularly Anthony Franciosa as the crazed mafia killer and Paul Benjamin as the small thief turned murderer. But the utmost respect is for Anthony Quinn, for courageously illustrating a dismal and raw cop-character with his status in Hollywood. The soul soundtrack is amazing and the actual Harlem filming locations make the film all the more authentic. Barry Shear's direction is surefooted and tight, and I can't believe I haven't checked out some of his other work yet. I still have a copy of "The Todd Killings" lying around, so I hope it's as masterful as this film!

This top urban thriller was perhaps the best of the films made during the blaxploitation era. The story is grim, bleak and violent and the grit and grime of Harlem is present in every scene. The theme throughout is black vs. white with no subtle shades of gray. Three black men steal money from the Mafia, with predictable results that follow in short order. Anthony Quinn and Yaphet Kotto are police officers with quite different agendas and their relationship is one of mutual dislike. Anthony Franciosa is over-the-top as the Mafia lieutenant and Richard Ward is a gravel-voiced Harlem crime boss who stands up to the Mafia with a brash defiance. Bobby Womack's vocals accompany the film.

Whether you regard 'Across 110th Street' as a genuine blaxploitation movie or not (I don't) there's no denying it's one of the toughest and most powerful crime movies of the early 1970s, easily as good as the better known 'Serpico' or 'Dirty Harry'. Anthony Quinn and Yaphet Kotto both give excellent performances as the NYC cops who have different approaches to trying to bring to justice some petty crooks who have ripped off the Mob. I was also impressed by Tony Franciosa who I knew from his later work in Argento's 'Tenebre'. I love that movie but always thought Franciosa was its weak point. In this movie he is one of the strengths. Paul Benjamin is also very good as one of the thieves. In fact, this movie is full of great acting, a tough and realistic script, taut direction from Barry Shear (who also made the 60s exploitation classic 'Wild In The Streets'), and a wonderful theme song from Bobby Womack, later recycled by Quentin Tarantino for 'Jackie Brown'. Highly recommended.

This movie sweats. Early on in the mostly pandering "blacksplotation" film cycle of the seventies, came this incredibly violent, hate filled drama of three small time crooks who stumble on a big score and their hopeless attempt to survive it. The film is utterly dark and features nary a cheap shot or moment of easy cynicism.

In one scene Anthony Quinn and Yaphet Kotto go to the apartment of one of the crooks lovers, already slain, to look for information and break the news. This is one of the most heartbreaking scenes ever put on film, a model of restraint and economy in a film that is busting at the seams. Actors who were probably barely in another movie give magnificent performances. The neglected Kotto was never better.

A very disturbing film that demands to be seen; art.

Paul Benjamin, Ed Bernard, and Antonio Fargas disguised as policemen raid a mob numbers bank and rip it off to the tune of $300,000.00. But the getaway is pretty bloody. Five gangsters and two real policemen wind up dead.

The film is a race against time because two parallel manhunts are at work for these perpetrators. The captain of the local police precinct Anthony Quinn is under pressure to bring in these cop killers. It's not clear whether Quinn's connection to the local black gangster crew who run the operation for the mafia is going to help or hinder his investigation.

In the meantime the local Don has sent his son-in-law Anthony Franciosa to head his own manhunt for the robbers. Of course they have sources that the cops don't have.

Of course the methods aren't too much different. Miranda warnings were a new thing at the time and Quinn is an old timer who really doesn't believe in them. The way Quinn and Franciosa interrogate doesn't leave too much room for difference, except that Quinn's subjects were still breathing after it was over.

This film probably has more bad people in it than any other that came along until Goodfellas came out. Yaphett Kotto as a cop sent from headquarters to monitor the situation is probably the only decent one among the principal players.

The best performances in the film are by Tony Franciosa who is never bad in anything and Richard Ward who may work for the Italian mob, but is by no means a lackey. He's determined to wind up a winner no matter what happens to Quinn and Franciosa.

It's a gritty look at the seamy side of law enforcement and its also gangsters without the Godfather glamor.