Os Sequestradores em Ação

Another great and unconventional crime drama from those beloved Italians, this one made by master of class Sergio Sollima (SANDOKAN) and containing a greater depth of plot and character than one might expect from other pulp adventures from the time. This tough flick is great and interesting thanks to the unconventional plot and the raw, almost documentary-style camera work which follows the characters around a variety of European settings. The plot is complex and gets murkier as the film progresses, with multiple characters lurking around the edges who have no clear motives. At times the film ventures into the area of the psychological thriller as it puts the characters through tense situations, at all times leading to a climax that you just know won't be a happy one.

Chief enjoyment comes from unlikely star Oliver Reed, playing a typically gruff character who is forced to confront his morals as the film progresses. Reed is great in the role, especially as he is forced to become more and more emotive as the film goes on, and he really fits into the role of the character nicely so that you forget that he's acting; personally I think this is one of the best performances I've seen from the underrated star. Fabio Testi is the criminal, Milo Ruiz, and puts in a genuinely good performance along with Reed, shining in a part that allows him to play a character rather than a wooden figure for once. The supporting cast is fine, especially Agostina Belli's frightened captive.

BLOOD IN THE STREETS is more plot-centric than most and thus contains a lesser degree of action than you might expect, although Sollima does throw in one outstanding shoot-out in a street for action fans. Nonetheless the sheer level of twists and turns in the plot and the performances make it hugely engrossing. One last thing to mention: there's a fantastic and stylish score by the acclaimed Ennio Morricone which enhances the action no end. This combination of winning elements makes it one to watch.

A promising, clever premise of a prison warden, played by genuine bad-ass Oliver Reed, who surreptitiously allows a prisoner to escape before abducting him in exchange for his (own) kidnapped wife... occurring between steely, intentionally claustrophobic scenes in dingy offices harboring dingier jail sells... almost succeeds...

The best moments of this action/thriller hybrid involves polar opposites Reed ("a stray dog without a home") and prisoner Fabio Testi on the run... in the latter's rogue territory...

Petty thief Testi teaching strict/timid lawman Reed to steal a car is a standout, and there needed more of this kind of Film Noir-inspired ambiguity combined with the European tough guy team-up (although their roles should be reversed) instead of a subpar subplot involving a pretty boy musician connected to a powerful politician...

Leading to an 11th hour escape by use of hiking across a mountain border and yet, despite the flaws, Italian ingenue Paola Pitagora brightens up the joint while Reed, using the same American Classic Gangster accent he had in an episode of THE SAINT (and that he often does as a satirical impression), doesn't need to overact to show the audience his love for this woman...

Any sane man would because, in REVOLVER, Paola's both a knockout and standout.

Oliver Reed rages at most of Italy and some of France and with good reason - his hot young wife has been kidnapped! He's the warden of a prison in Milan and someone wants him to release Milo (Fabio Testi) for reasons unknown. Even Milo doesn't seem to know why he's being released, no matter how many time Reed beats him up. Maybe it has something to do with that high profile assassination at the start of the film? But then, what does that have to do with that rock star guy?

Reed has to break some rules to get Testi out, but this is no simple case of doing a swap and getting his wife back. After beating the crap out of each other several times, they have to learn to rely on each other to get to the truth of the matter, which will take them through the alps while trying to outrun a massive manhunt.

There's too many twists to ruin so let's not go any further with the plot and let's talk about Oliver Reed. His red-faced rage at every single person involved in the kidnapping is a joy to behold (and drink fuelled by the sounds of it). He screams, swears, threatens, berates, assaults and even shoots his way through the film, and yet can still be loving and tender to his wife or calm when trying to subdue a suicidal inmate (a quick cameo by Sal Borghese). My favourite bit was when he was trying to convince a work colleague that nothing was wrong when at that exact moment the kidnappers call. The look on his face is priceless.

Fabio Testi does good as Milo, a crook resigned to his life of crime who can't think of anything else but a big pay-off. Yet he too has a soft side, seen in the film's strong start as he carries the dead body of a friend along a canal to Ennio Morricone's moving soundtrack. In fact, by the end of the film he's as greatly changed as Oliver Reed's character too, as he does begin to see life outside of crime. Yet another good Euro-crime film that starts off making you wonder why you're being hit with seemingly unconnected scenes that all ties together nicely at the end, if you don't think about it too hard. It's also nearly two hours long so be prepared for that.

If you are a fan of Sergio Sollima then I don't have to tell you that you will enjoy this film. I am so glad that I have discovered Italian action films from the 1960s and 1970s. I only wish that I could see some of these films on the big screen. There is something special about these films.

Revolver takes the viewer on a sort of chase. There is elements of mystery and action, but during the course of the film the relationship between the two

characters, played by Oliver Reed and Fabio Testi, evolves in a way that brings in drama into the story. Like Sollima's other films, there is fast paced action, violence, and a little bit of sex.

There is a gray area between who is good and bad, and that is something

Sollima has stated in interviews. In fact he has said that he has always been a fan of bad guys because sometimes the good guys mess things up more in the

end then the bad guys. He shows that in Revolver.

Revolver (1973)

** 1/2 (out of 4)

Oliver Reed plays Vito Cipriani, a cop turned prison warden who gets a phone call on day telling him that his wife has been kidnapped. If he wants to see his wife again he must help Milo Ruiz (Fabio Testi) escape from prison. The warden and convict manage to get away from the cops but soon they are both trying to figure out who kidnapped the wife.

REVOLVER has two great lead performances as well as a marvelous score by Ennio Morricone but there are all sorts of issues with the screenplay that keep it from being a much better film. I thought the story itself was rather weak and there just wasn't enough here to carry the 110-minute running time, which led the film to running out of gas towards the final act. Unlike a lot of EuroCrime pictures, this one here doesn't have a great amount of action and instead goes for more character development.

I thought the character development was handled quite well and it works because we've got two great actors turning in great performances. Reed is pitch perfect as the warden who soon finds himself willing to turn on his darker side if it means he gets his wife back. I really liked the frantic way Reed played the character and he didn't have to go over the top. Testi gave a very good performance as well and I thought the two had great chemistry together. The screenplay offers both actors some emotional scenes and they both pulled them off wonderfully.

As I said, the performances and the brilliant score make the film worth watching but I really wish there was more to the story than what we got. What action scenes are here are well directed by Sergio Sollima. REVOLVER falls just short of being a good film but it's certainly worth watching.