Diamants de sang

Fernando Di Leo gets a lot of harsh criticism, but in my opinion; he's been behind some of the very burst Polizi flicks to come out of Italy, in particular The Italian Connection and Milano Calibre 9. On the strength of this film, however, you would be forgiven for thinking he's more than just a little bit sub-par as despite some truly excellent action scenes; Blood and Diamonds is not a completely successful film, and a lot of that is down to the fact that the plot doesn't flow too well and the film constantly fluctuates between exciting and boring. The plot focuses on a man named Guido who goes down for robbery. He is released several years later and gets picked up by his girlfriend. They decide to take the bus, and it turns out to be a bad decision as the bus comes under attack by a gang of thugs and despite the heroic ex-convict jumping the rescue of his fellow passengers; it doesn't stop the thugs from murdering his girlfriend. Guido begins to suspect that the murder may have some connection from his time inside and resolves to get to the bottom of it.

The opening is actually pretty good and makes you think you might be in for another excellent thrill ride, but unfortunately the bus sequence is never matched until the very end and by then it's too little too late. Prolific Italian actor Claudio Cassinelli takes the lead role and does a fairly good job with it, although he's not charismatic enough to lead the film on his own. His two main co-stars stand out more than he does, and the beautiful Barbara Bouchet as well as American actor Martin Balsam deliver great supporting performances. There's not a great deal of thrills during the middle of the film, which is a shame as this type of film is famed for shootouts and car chases; only an indoor fist fight is really memorable. Thankfully the plot does start to thicken as the film moves into the final third, although we are never really given a good reason to care for the lead character and so his plight is not all that interesting - that being said, the ending itself is better than the vast majority of what came before it. Overall, Blood and Diamonds is not a must see Polizi flick and I would only recommend it to hardened fans of the genre.

Judging the film by its attributes on forehand, you'd think this movie is a diamond heist action movie with a lighter tone. The movie does include diamonds, but this is actually a very serious mafia thriller, much like Manhunt and Milano Calibre 9. It contains several of Di Leo's classic ingredients; good acting, good soundtrack, very complex fight scenes, some effective twists, and not least human relations that are believable. Nothing is entire black or white. It was good to see this on a nice looking high definition transfer today, as I've had the film on DVD for 15 years or so, but never took the time to see it (maybe because it's lower rated than Di Leo's classic crime films). If you like Manhunt, then you will probably appreciate this one as well as they share that mix of action and melancholy.

Disappointing late entry into the De Leo poliziotesschi canon. An at best functional (but not compelling) plot, low budget, lacking style or swagger, with fairly restrained content and an awful lot of incredibly poor acting give this the feel of a watered down "made for TV" version of his much better early 70s outings.

Worth watching if you're an Italian crime film completist. Otherwise give it a miss.

After serving a jail term, a man goes out for revenge on the gang members he considers were to blame for his arrest.

Blood and Diamonds (Diamanti sporchi di sangue) is wonderfully directed by Fernando di Leo, the locations give credence to his crime thriller story and screenplay. Amedeo Giomini's editing is tip-top especially in the action scenes littered throughout.

Steely Claudio Cassinelli is perfectly cast as understated restrained Guido Mauri. Cassinelli (taken before his time in a helicopter accident while filming in 1985) offers a great performance, impressively helping to ground the film even when gun toting or going mano a mano. It's a crying shame, but pivotal to the plot that striking Olga Karlatos' (Zombie Flesh Eaters (1979)) Maria has such little screen time. Karlatos is memorable in the films first act and best setup where a bus is attacked. Stunning Barbara Bouchet is at the top of her game, but is given little to do as club go-go-dancer Lisa. The crime boss Rizzo is played by American acting veteran Martin Balsam (12 Angry Men (1957), Psycho (1960), Breakfast at Tiffany's (1961) to name a few) who is on his usual fine form. Pier Paul Capponi is notable as Rizzo's annoying henchman, who confronts Guido at every opportunity.

It was originally conceived as a name cash-in connection to 'Rome caliber 9' to Di Leo's similar film Caliber 9 (1972). Luis Enriquez Bacalov music is perfect, the action cues notable and reused in Virus (aka Zombie Creeping Flesh and 'Hell of the Living Dead') (1980). As the police harass Guido and the local mafia boss try to get rid of him there's betrayal, shootouts and toplessness. There's a memorable violent garage scene that sets up the third act. Surprisingly it doesn't sell itself out and builds to a poignant low-key ending which works in its favour.

Overall, don't expect an all out Italian action film, it shares more with Get Carter (1971) its slow burning pace may not be for everyone, but this perfectly encapsulates the time and offers a mighty fine brooding turn from Cassinelli.

Just released ex- convict Guido watches his girlfriend get killed on the way home from prison. He thinks the killing is connected with the events that led to him going to jail five years back. Guido starts to investigate...

In many ways a typical late DiLeo- crime film: unimaginative lightning, boring sets, unimpressive action sequences. Yet I think just because of the grittiness of the script, this one easily rises above the other DiLeo- turkeys I've seen.

Decent acting in the form of especially Barbara Bouchet and Guido's main adversary Martin Balsam, who stand out positively. Most importantly, the plot really thickens towards the end climaxing in a truly memorable final scene between Guido and Martin Balsam's Rizzo.

Released on video in Finland in the eighties.