O Chefão Siciliano

Like the vast majority of the earth's population, yours truly is currently (May 2020) stuck in confinement at home due to a nasty new little virus called Corona. Also like most people, I'm often on the verge of going berserk, not being able to get out of the house and occasionally escape from (otherwise very lovable) wife and children. But, fortunately, I discovered a very effective method to release stress, and I would like to recommend it to as many people as possible! The secret to surviving this lockdown is reverting to the extreme violence and fast-paced action of the Italian Poliziotesschi from the 1970s, and then preferably those directed by Umberto Lenzi, since he was the undeniable master of this wonderfully twisted exploitation sub-genre.

By 1979, the release year of "From Corleone to Brooklyn", Lenzi had already made more than a dozen euro-crime thrillers, but still he always succeeded in making them refreshingly original, genuinely tense, extraordinary well-scripted and full of exhilarating stunt work. And even though Maurizio Merli never once played another role in his career, he still depicts the role of obsessive police captain with a tremendous amount of passion, energy and persuasion. In this awesome thrill-ride, police commissioner Giorgio Berni (Merli) must escort the apprehended hitman Scalia from Palermo to New York, in order to get him to testify against the fled mafia boss Michele Barresi. The film is called "From Corleone to Brooklyn", but it might as well have been named "Six Million Ways to Die on the Way to the Airport, and another Four Million Ways to Die from the Airport to the Courthouse". Barresi calls upon all his mafia connections to execute Scalia before reaching New York, and Cpt. Berni risks his life, and even that of his loved ones, numerous times to prevent these assassination attempts from happening.

There are several downright terrific sequences, like the virulent chase in the ultra-narrow streets of Palermo or the confrontation in the apartment block's basement, and the film also benefices from superior production values, a proper budget, a sublime soundtrack and a stellar supportive cast (including Van Johnson). Bring on the next confinement week!

Having Maurizio Merli on your tail must be like having a pack of hounds chasing after you (or Pepe Le Pieu, if you want a less scary comparison). The perp in question here isn't even on the same continent - he's high tailed it to New York, and Merli still wants to track him down.

That said, you can just jump on the next plane to the Big Apple without some sort of evidence. The gangster who fled is a mob boss wanted for ordering the murder of two other mob bosses in Palermo, and the cops in NYC have been tipped off that he's there, which makes him go on the run. Meanwhile, back in Italy, Merli and partner Venantino Venantini are trying to clean up the mess while various witnesses are bumped off by the Mafia. During a hit, Merli (well Venantino really) capture a button man alive, but the guy won't talk...until he finds out the mob boss has killed his sister.

The main bulk of the film details Merli trying to get this witness to New York without him being killed by the masses of mobsters armed to the teeth, which makes for steamlined, tension filled plot as anyone they encounter could be a hitman, and mostly are! Merli punches, shoots, ducks, runs, scampers and growls through the entire film, even taking on a gang on New York street punks. I don't have a single complaint to make about this film!

There's never a dull moment in this one, right up to the last second.

We're also beginning to see a gradual shift of setting here as half of this is filmed in New York, soon to be a trend as we'll get to see The Bronx Warriors, 2019: After The Fall Of New York, Escape from The Bronx, the New York Ripper, Zombie Holocaust, Inferno, Manhattan Baby all taking place in New York city. Maybe the Italians just liked it there. Who knows?

Umberto Lenzi, in case you've never heard of him, is an Italian director of various kinds of exploitation flicks: horror, crime drama, and even spaghetti western. The first movie of his that I ever saw was "Orgasmo" - called "Paranoia" in the US - in which Carroll Baker (of "Baby Doll" fame) plays a woman who moves to Italy and gets to know a young couple who aren't what they seem. Now I've seen another one of Lenzi's movies: "Da Corleone a Brooklyn" ("From Corelone to Brooklyn" in English). Maurizio Merli, who was apparently famous as a Franco Nero lookalike, plays a cop helping a low-level mafioso testify against a big-time gangster. I actually found much of the movie to be really slow-moving, but the last half-hour or so made up for that. Even so, the European exploitation flicks that I prefer are the ultra-gory ones.

At this writing the masses are rating it 6.6/10, which is just too low. 80% of those that took the time to write a review are giving it 8/10. That's more like it.

I'm glad that it ended when it did. Da Brooklyn a Corleone would make a nice sequel, but not all in one movie!

There's not a lot you can say in a review of this particular movie without a spoiler cropping up, so I guess I could say in that regard that it's extremely plot-driven. The characters are drawn in a much more believable way than the current crop of mafia orientated movies that suffer from way too much badda-bingness.

I can't find a subtitles file for this anywhere, so I had to watch in English, which was OK for the Brooklyn scenes. If I ever get my hands on one, I would LOVE to create a version of this movie where the scenes in Sicily are done in Italian with English subtitles, and the scenes in Brooklyn are done in English. The script actually lends itself to that, with one of the locals in NY asking what a particular word is in Italian. That has to be in English, but the scenes in Sicily obviously weren't. Of course the elephant in the room is that real Sicilian wouldn't sound much like standard Italian, but, hey, close enough. That would be a truly awesome improvement to what is already a really solid flick. If someone PM's me with a subtitle file, I will share the result. I promise, it will be awesome. Well, it is already. My copy already has English/Italian sound tracks, so the project is very doable.

This is one of those few films I wish would be discussed in more detail, but it fits in such a niche of a market that I doubt it'll ever happen.

In the 1970's, it wasn't uncommon for Italian B-movies to shoot a few exteriors in New York City but quite rare for the poliziotteschi genre. Sure there's a few films like STREET PEOPLE, BLAZING MAGNUMS, and STATELINE MOTEL but for the most part tried to play themselves off (unsuccessfully) as American movies.

As Umberto Lenzi's only cross-pond crime movie excursion and only teaming with famous Neapolitan crooner Mario Merola, this film stands out for several reasons. One, it's odd to see a eurocrime movie starring Maurizio Merli so focused on plot and characters. From start to finish, there's a single narrative thrust and tension running high throughout and even some personal investment on whether the characters live, die, or finally face sweet justice for their transgressions.

Secondly, it's almost more of a travelogue than an action movie. The film has no less than 4 sequences where characters sit in a car and look around while intercutting to a lot of filler footage of street scenes filmed from a moving car. While this sort of thing usually drags a B-movie down, it oddly fits in with the gritty, trashy feeling this film evokes from the sloppy cinematography and chaotic and funky score by Franco Micalizzi. You can either look at it as a more bizarre, improvised version of a Lenzi movie or a really polished version of an Alfonso Brescia-helmed scungy crime drama.

That said, there's plenty about this movie that really doesn't make sense (unless something was lost in translation). Why does Merli have to escort his witness by rail and car from Palermo all the way to Rome first in order to fly to New York? Surely in 1979 there had to be at least a few direct flights from Palermo to New York, or at least to Rome? Well, if they'd have just hopped on a plane at the start, it wouldn't have been the same movie. However I'd wager that it could only have been better as the film really picks up the most once it plops macho Italian crimefighter Maurizio Merli on American shores in the snowy, garbage-strewn, hoodlum-infested streets of 70's NYC.