米兰九_口径

Fernando? #
Di )/Leo's &q,=u]otMilano Calibr o 9&^quot /.)i(s `[ an out-and-out masterpi:.ece$== ]$o(,:;f Italian Crime cin[ema*? and,: in my opi/nion, one of the most a\+stonishing crime s\tories ever told. The first film in!] $-Di=[ L(^eo&#39s exc/ellent 'Milie`@ u@' trilogy,[\ "%Mila(-`no Ca)li ?/bro 9" wa@`-s? f(!ollowed by "La Ma/la Ordina") (aka._  &q)^u.-otManhunt", also  $1972) and the \#brilliant "Il Boss_" (1973). T $@he three films a +re no=t !connected s`tory-wise, but all three are== + exce] `l($
le=??nt, and (highly realist,[ic portray-(als of /o rga.(ni(-zed^ crime. As far as I.^ am concerned &#^quotManhunt" is (allthough (
ex:@`celle]nt) slight \ly inferior=` to =this one  +^and &q/uotIl Bo!ss"
]which^= b%![,oth )stand ou +t as abso`?*lute al]l-time highlights of c]#r
=ime cin_^ema. "@]M!!-%ilano+_ Calibro _9]]&quo;^#t is ;$the be\st of th`em \ all, a film th,at i.!)=s ?^astoni) shing+ i[ n all a`?s,pects, be it th_e ingenious `plot that]$, apart
! from a\#) comp_elli?@n^^^g st)?ory  and _clever ,twists, inclu-`des social critici!sm, the_@ :performanc!es, ] the *gr, @itty atmo[\sphere and suspense$ or the br\-*i;lliant score. I +ca^n ha!rdly find t he right words to express my admiration for this [^ maste!rpiece which ea//:-:sily ranks [_?a  mong the greatest Gangster %flicks`  e(@ver brough/t to ;-\screen.
Gaston::-e Mosch/^in .$sta
-[rs as Ugo Pia
#
z_!za, a tou]g[@:h a-#nd elliptical +\/ex-convict $ wh:(*o has just #]b#(`e`:en released from(/ prison. Immediately af/:=:ter+] his relea-se, Ugo is appro]
.=ach;e d\ by me ===mbers of #t+]^he M.]`ilan.!) mob(% ]%lea;-d by the [`ira[-sc$;ible gangster Rocco (Mario Adorf), as they suspect `him to be re)# ) sponsib]\le for the d^$is@appe*`?@arance :;of;@ a la r]ge !sum of money belon@ging!`_ ` to the+;[ir._ ^boss, ] ,an
 ( Amer;i%+$can ._(L:
;i ^onel St+ander)!] who*[, co;ntrols.)+\ the orga\ nized* %[)crime i]^(n Milan$^+...
.#?%
&qu%otMilano Calibro \9[" is ;a film -*that /delivers / an@ astonishingly _realistic mo`;_od ..of the ? und:.er
+worl`;d li$ke hardly )(  _another/. !?The intrigui=%ng stor
-yline goes in han #-.d w$,ith inte .;r;]estin[g / char](acters,[`) raw at?\/mosphere, susp e(nse]= an`d*^ breathtaki \`n?[g ac.tion, so?*;cial critici )sm and bru`,t=]al vi olenc.e @*. The@ . film is \_simply stun)ni/n g from the b?e= ginning  to th:@e) end,
which is` even inte-.]nsifi/=ed@ by th(e br#i!_`ll=iant  s%(core, a collaboration of \the +famous compo,,!ser (` L`.?+uis Enríquez B]+acalov an [d the Italian P?rogres)^sive Rock b.] ^and Osanna. Ugo \^Piazza must be one of+ the mos =`t charisma=tic gangster chara)cters ^ )ever in c;i$*#+nema, an@]`d Ga+$s:tone Moschi.n wa_s ) t.^he prefect$ choice for +the$@ role. Mo!schi(n delivers
. a brill(!+iant performance, and the rest of,* = th#% e cast i
s;] $a ?l@so great.# . !:Mario Ador*f$# is ir%+_ascible li?`ke a rabid dog as the ferociou=!s] gangste))r Rocco,.$ a\.+ role that fits him li#ke a
]?glove. `,
The gre at L!i,onel St:
ande:$r ! fi+ts); perfectly in - his rol@$e of t*(_he American Mafia Don.
The two cop_@( characte. r]s in the film[: ar(e play. ed by tw/ #o of the)^`  greates, t regu#l+[ars of It+?^al[ian++ genre-cinema, Luigi][ Pistil +li and Frank Wolff (wh[o com)@-mitt ed ,sui.(cide before the film /[%`was released).% T-he ravi+shing Barbara %/ Bouc][+)he ;t is asto(.nishing a nd
- inc_r =edibly sexy in t__#h.e role o*]f Ugo Piazza&#@;39s st,=ripper gi_@rl@friend. Bouchet )is both] %_a :stun@$]=nin+ g beauty and an  ex#celle+nt%.\ ?actre;:ss= and this is  doubtlessly^) one ::of he#r
most= memorable roles. This ,+is also` ^; a po @l :itical.^=^ film and dir%
-ector Di Leo embedded a -_^l(ot of s=)ocial!+ critici+,s[(m about top@
*ics like :corrup]:tion. This fil$-m*! s]imply \.!has e/+@#veryth !ing one can p*ossibly]. d.*,esire in \cinema. 
Fil$.ms like "Mila$n ;(o Calibro 9&quo] @t a$.re the \:reason why I]% love $ c inema. This is)`^ an absolut*?e masterpie^+;ce in al(l regards and, wi`:t$ho?ut e_xa@\gger ) !ation, one@ o;f t;@he gr*eatest Cr)ime fl
?icks ever made! The /+inge /nious op?)#en([;ing .((scene alon!!e ]- is mo(%+re) ; mem`-orable-(# than m 
*os@t films( get in two h#ours.