The Italian Connection Full Movie Download 1080p Hd
browonnThe Italian Connection Full Movie Download 1080p Hd
http://urllio.com/r5ekzWhen a shipment of heroin disappears between Italy and New York, a small-time pimp in Milan is framed for the theft. Two professional hitmen are dispatched from New York to find him, but the real thieves want to get rid of him before the New York killers get to him to eliminate any chance of them finding out he's the wrong man. When the pimp's wife and daughter are murdered in the course of the "manhunt", he swears revenge on everyone who had anything to do with it.
Now released under the absurdly named Mack Video as the absurdly named BLACK KINGPIN, LA MALA ORDINA, once known as MANHUNT, shows the Italian seventies policier director Fernando DiLeo in peak form. The Italian cops-mob-and-corruption movies often had a neorealist tincture, not far from such British cousins as GET CARTER or THE LONG GOOD FRIDAY. (The best in this vein is the dark, harrowing VIOLENT NAPLES.) But some of them were as ripe and over-the-top as concurrent works of Italian horror; and this saga of a small-town pimp pursued, God knows why, by Mr. Big and two Vincent-and-Jules-looking U.S.-made button men, looks like the product of some torrid motel-room coitus between Sergio Leone and Don Siegel. The faces are sweaty, the beatings (to evoke Roger Ebert's memorable phrase) suggest the sound of ping-pong paddles smacking naugahyde sofas--the only thing that's missing is the groan of an Ennio Morricone score. An evening of Shane Black quips it ain't, but ninety minutes of top-shelf hardboiled groove it is.
This is the second film from Ferdinando Di Leo I've seen and I must say I'm as unimpressed as I was after seeing Milano Calibro 9. While Di Leo might be the kind of director Tarantino loves to gab about, and some of the directors QT loves to gab about deserve all that gabbing, Di Leo's films sure don't seem to be worth much. Which is too bad because, unlike Umberto Lenzi who made fullblown caricatures of hardboiled street violence, Di Leo seems to shoot for more.<br/><br/>So a bunch of interesting ideas that we're already familiar from prior genre knowledge, the occasional twist to a story that is not very original or astounding, decent action set-pieces, but everything constantly undermined by bad acting and lamentable directing. Di Leo was probably a better writer than he was a director and he wasn't a great writer to begin with. Unlike the gritty, hyperkinetic realism of Kinji Fukasaku, a product of conscious artistic decision deployed with conviction as part of a larger commentary on the bleak situation of postwar Japan, Di Leo's gritty is a jumbled heap of jagged editing, awkward pans and zooms, needless cuts and cramped frames that show a director practically making it up as he went along. <br/><br/>Mario Adorf chews every scenery in a 3 mile radius but he does show considerable physical skills in his action scenes. Woody Strode's strong silent type on the other hand earns points for simply being strong and silent - and staring like he means it. The story of two American hit men chasing a flamboyant pimp around Milan to plant half a dozen bullets in his head for stealing drug money is half-interesting but the execution, when it doesn't erupt in outbursts of slaps and punches, leaves a lot to be desired.
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