Corléone à Brooklyn

Umberto Lenzi made some of the best Italian crime thrillers of the seventies. Unfortunately, however, this late entry doesn't rank up alongside his best efforts; but even so, From Corleone to Brooklyn is a breezy and entertaining little thriller that is sure to be appreciated by fans of this genre. The film that had the biggest influence on the Eurocrime genre is most definitely Don Siegal's masterpiece Dirty Harry; but the genre went on to take in elements from many different films; and it would seem that the main influence for this film is the 1977 Clint Eastwood thriller 'The Gauntlet'. As usual, the plot focuses on organised crime in Italy. Maurizio Merli takes up a familiar role as Commissioner Berni (no relation to the better known Commissioner Betti, I think); a cop who puts his life on the line to transport a witness from Corleone to New York City in order to testify against a mob boss on trial for murder. Along the way, Berni and his prisoner face a series of traps set up by the Mafia.

Maurizio Merli may be more than a little bit one-note; but he plays that one note so well that it's difficult to complain. He really does sleepwalk through the film; but it doesn't matter too much because this is still a very entertaining performance from the Eurocrime veteran. Merli is joined by the distinctive Biagio Pelligra and the pair has good chemistry together as they make the perilous journey from Italy to the USA. At just under ninety minutes; the film does feel rather short, however, and I have to say that it's the pacing that really lets it down. The build up to the central plot takes rather a long time and becomes a little tedious. Once we get into the main plot, things start to become a bit more exciting; but most of the film focuses on Italy, and by the time we get to the USA; there's not a great deal of time left. Still, the film is populated with gun fights and car chases and it never gets boring long enough to become really dull. The ending is rather good and there's a nice little sting in the tail. Overall, I wouldn't quite class this film as a 'must see', but it's certainly worth a look and Eurocrime fans will want to track it down.

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?

From Corleone To Brookln is one of Umberto Lenzi's best crime films, which is saying lot because he directed many classics in the genre.

Maurizio Merli plays Berni, the usual P.O. cop, and here he has to escort a lowlife criminal (Biagio Pellegra) from Italy to New York so he can testify against a mafia head.

the mafia have set up a series of traps along the way, making things a bit difficult for the boys.

at times very suspenseful, action packed and helped along by one of composer Franco Micalizzi's best scores, From Corleone To Brooklyn gets my highest recommendation.

sadly, this would be the last "real" crime film Lenzi would make, but at least he went out with a bang!

FROM CORLEONE TO BROOKLYN is an exciting late 70s Italian crime film starring the dynamic and handsome Maurizio Merli as an Italian cop who is trying to find a killer who is mob-connected and who eventually has to bring a witness to the United States to testify against the suspect in order for the suspect to be extradited back to Italy. Written and directed by Umberto Lenzi, who directed any number of excellent police films in the 70s (and four great vehicles for Carroll Baker in the late 60s/early 70s), the film moves at a brisk pace and because Mafia killers are after Merli and his witness, the viewer never knows when they will next be attacked or by what method. The pulsating, police-funk score gives this the classic "sound" of a 70s euro-crime film, and the fatalistic ending is something one would rarely see in an American film. Van Johnson, as the New York police lieutenant who works with Merli, does a fine job of barking orders at underlings and projects a genuine concern for Merli's task and situation. I'm still not sure if Mr. Johnson did his own dubbing on this film, but had a cold and was not well-recorded, or whether someone was doing a Van Johnson imitation--after all, Johnson is an EASY to identify actor with distinctive phrasing and accent. A mimic could listen to the soundtrack of one of his films and do a decent impression. In any event, this would rank among the top third of 70s Italian crime films that I have seen. Also, much of the location shooting is in New York and is shot when there is snow on the ground, so the atmosphere is important in the film Recommended to fans of this genre of film, FROM CORLEONE TO BROOKLYN is an example from the "golden age" of Euro-crime films.