Caliber 9

1972
7.4| 1h42m| en| More Info
Released: 15 February 1972 Released
Producted By: Cineproduzioni Daunia 70
Country: Italy
Budget: 0
Revenue: 0
Official Website:
Synopsis

Just out of prison, ex-con Ugo Piazza meets his former employer, a psychopathic gangster Rocco who enjoys sick violence and torture. Both the gangsters and the police believe Ugo has hidden $300,000 that should have gone to an American drug syndicate boss.

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Reviews

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.
Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.
Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.
Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.
Bezenby Every criminal in Milan thinks that small time crook Ugo Piazza (Moschin) has stolen $300,000 from local crime lord the Mikado (Lional Stander), from Mikado's sadistic enforcer Rocco, who has already brutally tortured and killed three people involved with the cash, to Ugo's own girlfriend, exotic dancer Barbara Bouchet. Most people even believe that he had himself thrown into jail for three years until the heat died down, but Ugo denies everything.That doesn't stop Rocco harassing the hell out of him, however. First he's taken to a scrapyard to have the crap beaten out of him, then Rocco and his goons turn up at Ugo crap hotel and destroy the place, but Ugo still denies taking the cash. Ugo goes to his old partner Phillip Leroy for help, but the man can only offer him money and advises him to go see the Mikado (although he does give Rocco a kicking for good measure). The Mikado, knowing that if Ugo has the money, then there's no point in killing him, hires him as a runner and has him work for Rocco, but things go from bad to worse when a red-clad figure who has been following Ugo kills one of the goons, steals more cash, and sets in motion a series of events that ends in a bloodbath. I suppose this being 1972 they had to throw in a mysterious killer somewhere.This all sounds like your usual Euro-crime movie, but there also an ongoing socio-political debate between two cops (An animated Frank Wolff and a subdued Luigi Pistilli) about the differences in the rich and the poor, and the North and the South of the country. This is reflected in the Mikado's speech about the old and new mafia, and how honour is not practised by the 'new' criminals, which is something that comes back to haunt the film's bleak ending. Just about every actor involved here stands out. Phillip Leroy tries to live in peace but his hand is forced by events beyond his control – his weary resignation at what he has to do in the end is a highlight, Gastone Moschin is no oil painting but as the quiet, brooding lead plays a very good burned out criminal, but Mario Adorf blows them all of the screen as the manic 'moustache Pete' who may be violent and cruel, but still knows how to stick to the code of honour. His character is no fool either, as a tense, and mostly silent scene between Ugo and himself in a police station shows.The soundtrack is a killer too! Although not my favourite Poliziotteschi film (for that is what they are called), it's probably my favourite Fernando De Leo film. Oh! Special mention to the set design of Barbara Bouchet's flat – amazing use of black and white. This was one of two films released after Frank Wolff's suicide. His co- star here, Luigi Pistilli, would also go on to commit suicide after receiving bad reviews and having a public meltdown (much later, in 1996). On a happy note Phillip Leroy and Mario Adorf still walk the Earth!
christopher-underwood A really good, uncompromising, violent and sexy police thriller with a fabulous lead performance from Gastone Moschin. Just out of jail, he is presented as being stuck between a rock and a hard place as he tries to manoeuvre himself so as not to get re-arrested by the police or killed by his mafia inspired ex-employers. He gives such a solid and believable performance which helps(or hinders) the viewer as we seek the truth in this exciting and twisting tale. Barbara Bouchet is ushered in as an exotic dancer in a wonderful beaded two piece. She gives a great performance, both as a dancer and key figure in this beautifully written piece. The action slows somewhat whenever we return to the police station but the double act of Frank Wolff and Luigi Pistilli and bad cop and good cop, help to keep things moving and Pistilli's dialogue seems to be very much the personal and political thoughts of writer/director Fernando Di Leo. A marvellous rock soundtrack and so, so, 70s decor help to ensure a very watchable, if very violent and thrilling ride.
Eumenides_0 Some movies you just need to watch a few minutes to know you'll love them. Fernando Di Leo's Caliber 9 opens with a gangster overseeing a criminal operation in a pigeon-occupied plaza. A package containing $300,000 moves across the city, passing from runner to runner, until ending up in the hands of the sadistic Rocco (Mario Adorf), an enforcer for a crime lord. But along the way someone has replaced the bank notes with blank pages. Rocco's revenge is swift and brutal, rounding up the runners one by one and disposing of them in one explosive go. It's a stylish, fast-paced montage, playing to an amazing main theme composed by the legendary Luis Bacalov. Five minutes is all we need to know that Caliber 9 is a violent, mesmerizing, exciting movie.Who stole the money? That's the movie's mystery in this mixture of Italian Poliziottesco and American film noir. The Poliziottesco is a crime/action subgenre of Italian cinema that flourished during the '70s, characterized by its unglamorous and graphic depiction of crime and violence. This came out the same year as The Godfather, and it's interesting to compare how each country portrays organized crime. Coppola's loyal, honourable family has no place in Di Leo's Italy. Rocco has no problems torturing a woman by smashing her face against furniture repeatedly. It's violence divested of entertainment values; the criminals aren't nice and we're not supposed to like them.Rocco and the police think Ugo Piazza (Gastone Moschin), a runner involved in the scheme and who was arrested shortly after for a botched robbery, stole the package. Both Rocco and the Police Commissioner (Frank Wolff) are waiting for Ugo to go get the money. The police see this as an opportunity to arrest Rocco's boss, the crime lord known as The Americano (Lionel Stander).The only problem is that Uzo vehemently denies having taken the money, and he intends to prove it so he can settle down again with his former girlfriend, Nelly (Barbara Bouchet). Ugo could have walked out of an American film noir: a man of few words and fewer friends, caught between brutal thugs and cops who wants to use him as bait, running against time to prove his innocence, he has the typical aura of doom that looms over the lives of film noir protagonists.His only connections in the crime world are the blind Don Vincenzzo (Ivo Garrani), a former Mafia Don, and his bodyguard, Chino (Philippe Leroy), but they refuse to get involved out of principle. If Ugo really stole the money, then he broke rules of conduct amongst criminals. The movie is very ingenious in the way it contrasts a mythical, bygone age of honourable Mafiosi, nostalgically recalled by Don Vincenzzo, and the unchecked vicious thugs controlled by Rocco. The concept of honour comes back to haunt Chino at the end, in one of the movie's many twists.But Ugo is a resourceful guy, capable of withstanding a beating if that will further his goals. Although not the physical type he's smart and we watch him manipulate Rocco, The Americano, the police and Chino like pieces in a chessboard, except he's moving the pieces on each side. Anyone who has seen A Fistful of Dollars or Miller's Crossing may think they know where this is going, but the way Ugo turns everyone against each other is a class act on its own level.The acting is efficient but not stellar. Moschin's subdued performance is the perfect counterpoint to the over-the-top tour de force by Adorf, who bursts into the screen like a wild beast ready to tear his preys apart. Although his performance as a tough, nasty thug lends itself easily to parody, it's also one of the funniest aspects of the movie The movie also suffers from something endemic in Italian cinema from the '70s. At the time almost everyone in the arts was a leftist and usually the films were full of political content. Some directors knew how to incorporate this naturally into the story – Elio Petri's Investigation of a Citizen Above Suspicion does a great job showing the way a fascist cop's mind works, and Bertolucci's The Conformist is a sober portrait of life in Mussolini's regime. Others failed to marry story and content and turned into pamphlets. Such is the case of Caliber 9 at times: actors Frank Wolff and Luigi Pistilli play politically opposed cops and slow down the narrative with conversations about the social causes of crime, the treatment of inmates, political corruption, etc. These scenes seem to belong in another film, and Di Leo only justified not removing them because Wolff and Pistilli deliver great performances.
Woodyanders Tough, shrewd ex-con Ugo Piazza (superbly played with understated stoic and steely resolve by Gastone Moschin) gets paroled from prison. Both the mob and the police alike suspect Ugo of hiding $300,000 dollars which should have been given to an American drug syndicate. But Ugo refuses to divulge any information about the missing loot to either party. Writer/director Fernando Di Leo relates the absorbing story at a constant quick pace, does an expert job of creating and sustaining a supremely rough, gritty, and uncompromisingly harsh tone, stages the action scenes with considerable panache (a major shoot-out at an outdoor party is especially amazing and exciting), makes inspired use of the cold urban locations, and punctuates the narrative with shocking outbursts of extremely raw and brutal violence. This film further benefits from sturdy acting by a stellar cast: the ravishing Barbara Bouchet burns up the screen with her sultry portrayal of Ugo's loyal dancer girlfriend Nelly Bordon (Barbara's introductory scene depicting her dancing in a bikini in a swingin' club is memorably sexy), Mario Adorf delivers a deliciously robust turn as flamboyant and sadistic gangster Rocco Musco, Philippe Leroy excels as Ugo's rugged, yet weary former partner Chino, plus there are fine contributions by Luigi Pistilli as cagey, hard-nosed Inspector Mercuri, Frank Wolff as a liberal police commissioner, Ivo Garrani as the wise Don Vincenzo, and Lionel Standler as fearsome mob capo Americano. Moreover, we even get some spot-on stinging social commentary on the ineffectualness of the criminal justice system and the deterioration of the mob. The powerful surprise twist ending packs a strong and lingering sucker punch right to the gut. Franco Villa's slick cinematography gives the picture an attractive glossy look. The lively, rousing, hard-grooving score by Luis Enriquez Bacalov hits the funky spot. Highly recommended.