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  • I saw this for the first time recently aft reading a glowing review by Coventry n the other factor which pulled me into seeing this is Silva.

    They say that this one is the final part of Fernando Di Leo's "Milieu Trilogy" also including Caliber 9 (1972) and The Italian Connection (1972).

    I haven't seen the other two but this one ends with a note stating to be continued.

    But a sequel was never made.

    Silva is very convincing in the role of that of a ruthless hitman who doesn't hesitate to ill treat a hot nymphomaniac n is obsessed with photos of women with big juggs.

    The opening scene of the theatre is very brutal n some of the shoot outs are pretty violent.

    The only three things which bothers me, how the character of Silva slipped out of the shack?

    What was the conversation towards the end just before when the movie ends with a note to be continued.

    The movie has lots of unwanted chit chats.
  • The opening scene from The Boss shows what the 70's Italian crime film was all about. A mafia hit-man wipes out most of a rival family when he fires a grenade launcher at them from the projection booth while they sit back and watch Danish porn. In other words, the genre was about serious action, violence and a distinct lack of subtlety. This opening action duly sets into motion a violent mob war and we are off.

    Fernando Di Leo shows here once again, that when it comes to poliziotteschi he was the undoubted master. The Boss is the third in an excellent loose trilogy about Italian organised crime. Milan Calibre 9 and The Italian Connection are the other two entries. This one is more specifically about the Mafia and its machinations. As such it's set in the Mafia homeland of Palermo, Sicily. I like how the poliziotteschi films are so city specific. This gives them all distinctive atmospheres; the city is almost a separate character. But in this flick there is no doubt Henry Silva is the star of the show. He plays the hit-man Nick Lanzetta and shows precisely why he is considered an Italian crime genre great. His stone-faced, monosyllabic approach is perfect for this ruthless character. Lanzetta is certainly one of the hardest screen gangsters ever. The movie basically depicts his rise through the ranks of the Mafia. He, like all the other characters is out for himself alone and he is pretty ruthless in getting to the top. There are no good characters in this film, no matter which side of the law they are on everyone is immoral to at least some degree. I think the Italians are so good at this kind of movie because they seemed to think nothing of populating entire movies with shady characters. It's not just the crime films that do this but a lot of the gialli take the same approach. It works especially well in these noir style flicks though, as they usually are making statements about corruption in the Italian authorities as well as looking at the crime gangs. The Boss does detail some of the inner workings of the Mafia too. But more than anything, this is a film that is so very enjoyable because it is loaded with lots of stylish violent action.
  • Bezenby13 January 2018
    Warning: Spoilers
    Henry Silva is literally the scariest looking bastard I have ever seen in an Italian film, and if you think the same, this film is going to disturb you. Here he plays a man who seemingly feels no emotion whatsoever, and that makes him a terrifying figure, even amongst the mob. Put it this way, when we first meet Henry, he's firing grenades into a porn cinema filled with mob bosses, and on his way out one of their goons tries to shoot him, so he just fires a grenade at him too. Without blinking. He does however tell an entreating projectionist "Jesus doesn't like porn!" Henry works for mobster Don Daniello (continually referred to on the Italian audio as Don Gabrielle) and both of them work for Mega-don Richard Conte, and now they 've gotten rid of a rival mob boss, they seem to have spawned a monster in Don Ciccio, who takes over his exploded boss and aims to get even with Don Daniello. When we first meet Don Ciccio, he's having a bit of a conflab with crooked cop Gianno Garko (suitably slimy in this role) while the blown up bodies of the mobsters are wailed over by their families. Garko works for Daniello (or Richard Conte, I can't remember) and tells Ciccio to get out of town.

    Garko's boss seems to be the only remotely good guy in the film and also seems to know what Garko is up too. Just like Fernando De Leo's Milano Calibro, this guy seems to provide the social commentary needed on all the going's on, like why Garko may be doing what he's doing in the first place (and it may not just be for money). Meanwhile, Don Ciccio kidnaps Daniello's daughter, which causes the Don to go into meltdown and raises concern for Conte, to whom the mob is everything and family are expendable...and he suggests that Silva might want to keep an eye on Daniello so that their family don't appear weak. As for his daughter, well, turns out she's a nymphomaniac drug addict so she's happy enough!

    Due to him just staring malevolently at everything, you have no idea where Henry's thoughts are going, who he's going to cold-bloodily murder, or even who he's loyal too. His face betrays nothing which makes it worse when he suddenly explodes into violence. Hell, even when a woman is draping herself all over him he barely moves. Silva totally outshines Garko and Conte, and they are both great too. Both of them seemingly present a different side to the whole argument - Garko's 'better the devil you know' philosophy reflects Conte's 'stay true to mafia tradition' policy. Garko is a lot more animated and forthright in his views, but Conte plays the same resigned mob boss he played in six other films that year including Tony Arzenta, Mean Frank and Crazy Tony, and Anna, the pleasure, the torment. I guess the 'to be continued' at the end was some kind of statement, eh?
  • I agree with the only other individual who has commented on this movie, it's a real 'mafia-action' classic from the early seventies and is gritty, well plotted and acted and has a very high body-count !

    Our hero (or rather anti-hero), is a hit-man for the mafia, who proves his worth by rubbing-out half of a rival gang, whilst they were enjoying a private screening of some Scandinavian porn, launching grenades from the projection room- into the auditorium.......

    I don't want to give away too-much but this film has enough twists and turns -double and treble crosses to keep any fan of the genre glued to the screen.

    Also has a great score by Luis E. Bacalov - the main theme comes in times of action and thunders by like an express train carrying an angry Keith Moon, backed with fuzz-guitar, then flips into frantic jazz piano (has to be heard to be appreciated).

    Has to be seen too !
  • Henry Silva again appears in this, the final part of the Mileau Trilogy (along with The Italian Connection and Caliber 9). Three great films by Fernando Di Leo.

    While this is the weakest of the three, it is the one closest to my heart as my family comes from Palermo and Camporeale in Sicily. It's a mafia war, and has a heavy influence from The Godfather.

    In fact, the top Godfather in this film is Richard Conte, Don Barzini from The Godfather, Antonia Santilli plays Don D'Aniello's daughter, who is kidnapped in the battle. She is a wild child that bonds instantly with the kidnappers.

    The one thing I cannot figure from the translation is how Italian police talk about "wankers." Did a Brit do the translation?
  • French Italian thriller with plenty of action , crisply edition , tension , intrigue , suspenseful , plot twists and loads of violence with reminiscent to ¨Charles Bronson¨ films . The picture deals with the violent and turbulent times when the dangerous mobsters organizations dominated the Italian environments by committing terrible crimes , kidnaps and massacres . As the Mafia war between the Sicilians and the Calabrians results to be the principal character in the yarn . This is a thrilling and twisted flick about the political scene in Italy at the time of the turbulent Seventies . A deadly explosion causing a lot of deaths and it will soon destroy the old equilibrium giving the way to an escalation of violence , as the powerful ganster Cocchi (Richard Conte) is determined to a relentless vendetta . As the matter escalates and rival band members kill each other, a hit-man (Henry Silva) gets trapped in the mafia war . Later on , it occurs the Giuseppe Aniello's (Claudio Nicastro) daughter (Antonia Santilli) kidnapping , but in Palermo things go wrong , as the police is extremely corrupted , and an inspector (Gianni Garco) is assigned by his chief , Questore Vittorio Caprioli , to carry out the complex investigation .

    This is an intriguing film that contains noisy action , betrayals , suspense , thrills , twists , turns and anything else .This film results to be one of the best among the whole saga of Poliziottesco that had its splendor in the Seventies and early Eighties . It is an acceptable movie that takes place in ups and downs with surprises and plot twists , but also with unfortunate and unpredictable events . Everything revolves around the unstable highly charged political environment : in the thunderous Italy during those days of civil unrest during the 1970's with the Mafia ruling Calabria and Sicily . The picture depicts violently those thunderous and criminal times . Although failing on occasion to balance the thin line it establishes between perception and reality , offering a semi-realistic look at the priorities and lives of nasty mobsters . Nail-biting and moving Italian Poliziesco with enjoyable acting by main star names , dealing with a killer and an supposedly innocent victim . The film is interesting enough , though it has some flaws , gaps and shortfalls . Stars Henry Silva , as he is nice in his usual way by playing as a contract killer who stumbles into a conspiracy with fateful consequences and the gorgeous but nymphomaniac kidnapped girl performed by Antonia Santilli steals the spectacle by showing some nudism . Henry Silva sports his inimitable and cold style while shots and kills . Silva was born in Brooklyn , New York , and called to Hollywood, he played a succession of heavies in films, including The Bravados (1958), Green mansions (1959), Manchurian Candidate (1962) and Johnny Cool (1963). An Italian producer made Henry an offer he could not refuse--to star as a hero for a change--and he moved his family overseas . As he emigrated to Italy where perfomed Spaghetti Westerns as The Hills Run Red (1966) and White Fang to the Rescue (1975) , but Silva's turning-point picture was Poliziescos sub-genre , such as : Razza violenta, Napoli spera , Fatevi vivi, la polizia non interverra, Milano odia: la polizia non può sparare, which made him a hot box office commodity in Spain, Italy, Germany and France. His popularity was enhanced by a gift for languages. He speaks Italian and Spanish fluently and has a flair for the kind of gritty, realistic roles that also catapulted Charles Bronson to European stardom. Returning to the United States, he co-starred with Frank Sinatra in the film Contract on Cherry Street (1977), then signed on as Buck Rogers' evil adversary Kane in Buck Rogers.

    It displays an atmospheric musical score by Luis Enrique Bacalov , who some years later won an Academy Award for The Postman and pablo Neruda. Likewise, an evocative and appropriate cinematography by Franco Villa . The motion picture was professionally directed by Fernando Di Leo , though it has failures and shortcomings. Fernando was a writer and director , being expert on Giallos , Thrillers and poliziesco genre , especially known for The Boys Who Slaughter (1969) , Slaughter Hotel (1971) , Milano calibro 9 (1972) , Black Kingpin (1972), La Seduzione (1973), Il Boss (1973) , The American Connection (1976) , Killer Vs Killers (1985), among others . The flick will appeal to Italian Poliziottesco sub-genre fans.
  • Warning: Spoilers
    Another blazing mafia movie from Fernando di Leo, the ace who brought us CALIBRE 9 and MANHUNT, THE BOSS is a cold and violent film that purports to "show it how it is", ie. depict the everyday life of members of a small-town mafia without glossing over any of the hard facts or making it a sentimental family movie. Indeed the characters are unapproachable and unlikable, the film doesn't offer us one sympathetic person in the whole film. Instead we are asked to identify with Henry Silva's stone-faced leading character, a ruthless killer who doesn't think twice of bumping off the father figure who adopted him fifteen years previously for "the family" and who spends his time massacring people or beating women.

    Silva is great in the lead, by the way. You definitely would not mess with this guy if you saw him in the street. He's one of the hardest characters I've yet to see in a movie. What can you say when the opening set-up shows him offing a bunch of rivals at a porn cinema by using a grenade launcher to literally blow them into bloody ribbons? Di Leo's knack of blending engaging edge-of-your-seat action with gripping plot twists and plentiful betrayals keeps the film full of energy and the body count keeps rising and rising after the opening massacre. I'd say at least three dozen guys get killed during the course of this movie. The film itself is very drab-looking, with lots of dark greys and browns making up the sets and there isn't a lot of happiness in the movie. Instead THE BOSS focuses on themes of loyalty, friendship, loss, and the human determination to survive.

    Richard Conte takes the role of the aged Don Corasco and is great in the significant role, as you would expect from a pro. There are also standouts from the supporting cast – Gianni Garko's slimy cop is really loathsome for instance, and Antonia Santilli makes an impact as the daughter of the Don, typically getting abused and used by the bad guys (Di Leo must really hate women judging by his movies). There are lots of great turns from stalwart supports like Howard Ross and Andrea Aureli who keep their scenes lively, and maximum amounts of suspense and tension are thrown in at keys points to give the movie a knife-edge atmosphere. The action scenes are dynamic and extremely violent. Cars and buildings explode, there are shoot-outs, flick knives in mouths, loads more hard-hitting footage. These elements make the film great addition to the Italo crime genre.
  • The third and final film in Fernando Di Leo's excellent Millieu trilogy, "Il Boss" of 1973 is an absolute masterpiece that easily ranks among the most brilliant Mafia films ever brought to screen. Director Di Leo had created one of Crime Cinema's all-time highlights already with "Milano Calibro 9" in 1972, and while the succeeding "La Mala Ordina" (aka.) "Manhunt" from the same year was still excellent, but slightly inferior, "Il Boss" equals the brilliance of the first film. Unlike its two predecessors, which played in Milan, "Il Boss" takes place in Palermo, Sicily. The film which begins with a memorably brutal opening sequence already, delivers raw action and excessive violence as well as a very realistic insight into corruption and organized crime. The film is tough-minded and uncompromising from the very beginning, and the characters, all of which are brutal, immoral and violent differ not in their moral values, but just in their toughness. The stone- faced Henry Silva in the lead alone makes this film an absolute must-see for every lover of crime cinema. Silva makes the toughest and most charismatic Mafia hit-man ever to have appeared on screen in his leading role of Nick Lanzetta, and the doubtlessly greatest role ever played by Silva, generally one of the greatest actors in Italian crime cinema.

    This film, which revolves around power struggles and a kidnapping within Sicily's organized crime, delivers tons of raw action and sadistic violence as well as fine portion of criticism of social circumstances and corruption. Apart from that, it also has a unique atmosphere and gives a stunning and immensely realistic portrayal of the power struggles within the mafia. "Il Boss" is a film of superb, ruthless characters, and equally superb performances. As mentioned above, Henry Silva is one of my favorite actors and he is absolutely brilliant in the leading role of Nick Lanzetta here. Lanzetta is arguably THE toughest Mafia-hit-man character in Cinema-history, and Silva is the perfect, no, the ONLY choice to play the role. Yes, this truly is a film that makes it hard not to talk in superlatives all the time. The other performances are entirely great too, be it Richard Conte as a Mafia Boss, Pier Paolo Capponi, or Spaghetti Western star Gianni Garko, who is excellent in the role of a sleazy corrupt police detective. The ravishing beauty Antonia Santilli is also superb in the female lead as a seductive mobster's daughter, for unknown reasons she sadly didn't appear in too many other films. The brilliant score by Luis Enríquez Bacalov contributes a lot to the film ingenious atmosphere and general mood. Brutal, Tough-Minded and absolutely brilliant "Il Boss" is a personal favorite of mine that easily ranks among the greatest Mafia-flicks ever made! I could go on praising this film for a long time, but I will just finish my review with a recommendation: Watch this film as soon as you can! This is Italian genre-cinema at its finest, and an absolute must see for every lover of Cult-cinema!
  • Warning: Spoilers
    Henry Silva is a hit man who's grenade attack on a boss and his men during a skin flick starts up a mob war that soon has everyone attacking everyone else with the cops sitting in the middle watching as people end up dead around them. Violent and at times unpleasant mob movie shows the mob bosses for what they are, little more than animals wanting only their piece of the pie. It's also a tale where revenge only leads to bigger outrages. This is the sort of okay movie that you end up sticking with because the violence is arresting (the opening grenade attack hooked me) and because the twists and turns are such that you genuinely want to know what is going to happen next because you don't know what is going to happen next other than it won't be any good. Worth a look for those who like gritty Euro-crime films.
  • Warning: Spoilers
    The other reviewers are right. It may be an incredibly statement to make, especially since there are so many classic and legendary milestone titles in the genre, but "The Boss" may very well be one of the greatest mafia films ever made! This movie is strictly 100% hardcore-to-the-bone excitement, with ultra-sadistic characters, nasty double-crossings, merciless executions and explosive vendettas that require urgent and bloody settlements. There are no good or loyal characters in Fernando Di Leo's depiction of Palermo's mafia… There are only vicious and emotionless gangsters that would butcher their own parents in order to climb one small step up the Sicilian ladder of power & influence. Even the main character, flawlessly portrayed by Italian cult icon Henry Silva, is a totally relentless bastard that violates women and betrays his closest relatives in exchange for more money and power. Watching this film in all its gritty and violent glory, it's almost depressing to realize that large parts of the script were based on factual events as they occurred in crime-infested Italy during the early 70's. The DVD's commentary track even states that some of the situations were so damn realistic that director Di Leo and other members of the crew had to live with fear for acts of retribution by the local mafia. "The Boss" easily surpasses the status of entertainment and it's even more than just a cult film; this is essential revolutionary cinema!

    The movie opens insanely brilliant, with Sicilian mafia pawn Nick Lanzetta (Silva) executing most members of a rivaling clan inside a pornography theater. But he doesn't use normal artillery, oh no… He uses a genuine grenade-launcher which turns his targets into steaming little piles of humanoid waste! The pace naturally slows down a bit after this terrific intro, but the dialogs and the story remain utterly compelling and the cast of vile characters that gets introduced is nearly endless, including a sleazy attorney, a nymphomaniac crime lord's daughter and – my personal favorite - a sarcastically venting chief of police. Following the bloody massacre at the cinema, the last remaining leader of the other mafia family wants revenge and he kidnaps the only daughter of Don Giuseppe Daniello. Lanzetta is sent to free her, but treacherous deals are closed everywhere, even within the eminent Daniello family and with the local commissioner of police. The plot is – as usually the case in Italian cult cinema – very convoluted and occasionally difficult to follow, but the action sequences are delicious and several of the plot twists are unpredictable and downright shocking. Henry Silva is phenomenal in his role of relentless killer. His facial expressions never change (he never even smiles) and he's ultimately cruel and professional when it comes to doing his "job". Gianni Garko, playing the commissioner, is splendid as well, particularly when he aggressively shouts at the relatives of dead gangsters because their crying and mourning upsets him! How tactful! The music adds an even grimmer atmosphere to the story and the roughly edited cinematography makes the wholesome appear even more realistic. "The Boss" is the final entry in Fernando Di Leo's trilogy revolving on Italy's circle of organized crime, and the other two "Milano Calibre .9" and "Man Hunt" are supposed to be even better than this one. Personally I haven't seen them yet, but if the rumors are true then Di Leo deserves a statue for his accomplishments in cult cinema.
  • Warning: Spoilers
    Set in Palermo, Sicily, Il Boss is the third of Fernando Di Leo's trilogy (known as the "Milieu Trilogy") which includes Milano Calibro 9 and The Italian Connection. Here, Henry Silva plays Lanzetta, a cold blooded and, some might say, expressionless hit man working for mob boss D'Aniello (Nicastro). Lanzetta manages a "wipeout" of an entire mafia family...except one, a guy named Cocchi (Capponi). Cocchi is bewildered and wants revenge. Hence, they kidnap D'Aniello's daughter Rina (Santilli). Police Commissario Torri (Garko) is trying to get to the bottom of things but he just may have his own agenda - and yet another mob boss, Don Corrasco (Conte) seems to be running things, but is he? As all these various characters intertwine, what will become of them, and how will Lanzetta navigate these confusing and treacherous waters? Find out today! Il Boss is another winner from the amazingly talented Fernando Di Leo. Not wanting to ever repeat himself, this part of his trilogy is actually very different from the others. Not just that, it's very different from just about any Mafia movie out there. Because not only does it have the classic high-quality Di Leo shooting and editing, but it is also extremely well-written (if perhaps a tad over-written at times). It tackles social issues such as corruption, as well as another Di Leo trademark, the youth culture of the day. Starting with another absolutely killer opening sequence, you are immediately sucked into this world and it's very effective.

    Henry Silva (or, more accurately, Lanzetta) isn't your average hit-man. Usually they use pistols with silencers so no one knows they were there. Lanzetta clearly doesn't care, as he uses a grenade launcher! Silva with a grenade launcher should be enough to recommend this movie right there. But while the violence intermixes with the serious-minded issues at work, we felt the movie was most effective during the scenes of mob violence set to Bacalov's amazing score. Bacalov's score absolutely rules here. He's a musical genius that's made a career out of excellent scores, but he outdoes himself this time. Taking his cues from the Italian prog movement that was huge at the time, Bacalov knocks this score out of the park. It gives you that intense feeling that the movie is working on all cylinders.

    Di Leo's movies are so impactful because of a combination of technical mastery, music choices and social and psychological insights. This manifests itself especially interestingly in Il Boss with the Santilli's Rina character. So Di Leo's movies have withstood the test of time far better than a lot of his contemporaries. That being said, this movie is kind of talky at times and is arguably the weakest of the trilogy, but it's still a good movie that's well worth seeing.

    Plus you have to see the Raro DVD. I (Brett) originally saw this movie on the VHS release by 3 Star Home Video. The Raro DVD not only is widescreen with subtitles, I believe it's significantly longer, at 112 minutes. The 3 Star tape obviously does not compare. There was another VHS release back in the day (also under the name Wipeout) but I'm not sure of the label. But it's a moot point, as this DVD is the clear choice for collectors and viewers.

    Il Boss is the Mafia movie done right, and it should be seen.
  • This movie shows it like it is. In this movie Ferdinando di Leo was brave enough to use real unofficial incidents that were happening at the time,he even used some real names, or changed some by changing only a letter from the name, After this movie came, Ferdinando became paraniod that someone was going to "take care of him" for the content of this movie but nothing happend. This movie is great because, Di Leo doesn't make out the characters to be charismatic role models, but the cold blood assassins they really are. I give this movie 2 thumbs up. Plus and the end of the movie it sais to be continued, but not because theirs going to be a sequel, but becuase he just did a piece of mafia history, and the mafia continues, no good endings or bad endings, just a piece of history.
  • Watching others Fernando Di Leo's movie, I have been accustomed appreciate his job, though Il Boss wasn't in same level as the previous ones, as in the early sequence at private porn movie, a blast indeed, the storyline is around on two rival mob gangsters, the Sicilian and the Calabrian families, the main point was here, who know as Italian territory works will easily understand such animosity, then after the massacre the vendetta is the right answer, kidnapping, betrays, bribing the police, Richard Conte as the Boss tries control and preserve the business, Henry Silva as leading role is solid as hitman, however kills his own stepfather without mercy, predicting a better upcoming position, the kidnaping girl is a separate chapter, a true nympho girl addicted by drugs, at the ending has a statement "to be continued", anyway a violent offer from Fernando Di Leo, although it was one step behind than Milano Calibro 9!!!

    Resume:

    First watch: 2019 / How many: 1 / Source: DVD / Rating: 7.5
  • Warning: Spoilers
    There's lots of gunplay, double and re-doubled crossings. fascinating Italian locations, a great music score by Luis Bacalov, perfect cinematography by Franco Villa in 'Eastmancolor', Henry Silva as the efficient cold eyed assassin, Richard Conte as the ageing local capo, gorgeous Antonia Santilli as the wild Rina, Vittorio Caprioli as a cynical policeman and perfectly paced direction from Fernando Di Leo. What more can one want in a gangster movie?
  • Warning: Spoilers
    "Mister Scarface" director Fernando Di Leo has a high-ranking Italian police official compare Mafia gang wars with the Vietnam War in "The Boss," the final explosive chapter of his "Milieu Trilogy" that began with "Caliber 9" (1972), aka "Milano calibro 9" (1972) with Frank Wolff and followed with "Manhunt" aka "La Mala ordina, " (1972) co-starring Henry Silva and Woody Strode. If you're looking for no-holds-barred violence on a grand scale, "The Boss" antes up more than enough mayhem and murder during its 100 minute running time to satisfy your thirst for blood. Skull-faced heavy Henry Silva delivers another monosyllabic performance as a cold-blooded Mafia executioner. Veteran Hollywood star Richard Conte lends strong support as the top-most Mafia chieftain.

    "The Boss" covers several weeks of action. It begins inconspicuously enough with a guy carrying a package under his arm who enters an anonymous building. Di Leo shrouds this uneventful activity with composer Luis Enríquez Bacalov's slightly paranoid jazz soundtrack and create a modicum of tension. An entirely different guy in a red shirt delivers a film reel to the projectionist upstairs so we now know that the building houses a movie theater. Downstairs, a well-dressed, loud-talking mobster leads a group of mobsters in business suits into an auditorium. He proclaims that they are about to watch a Danish porn movie with "the best looking broads in the world." Meanwhile, the man with the package, Nick Lanzetta (Henry Silva of "Ocean's 11"), relieves the projectionist of his duties, clobbers him over the head, and get him out of his way. Nick assembles a rifle with a grenade launcher. He turns the auditorium where the mobsters are sawing the porn movie into a inferno. The implicit message that pornographic films are bad for you is unmistakable.

    Commissioner Torri (Gianni Garko of "Bad Man's River") runs the Mafia types out of the police morgue where the charred remains of the burned bodies lay on slabs. Torri explains his theory to his boss, Il Questore (Vittorio Caprioli of "Mister Scarface"), that the government is to blame for the bloodshed. "It's the fault of the government," Torri argues, "The results of a policy that is a failure. Since the government forced the old bosses into exile, their families have been left fighting for position. That results in complete disorder. All your newer families begin to feel impatient—I'm talking about the oldest ones they suddenly get the ideas that they can start grabbing for power because their own coppo was around to keep it under control." Torri argues that everything is liable to explode if they don't bring back the old dons. Tension exists between Torri and Il Questore because the latter knows that the former receives bribes from the Mafia. Il Questore cannot make any charges stick against Torri and he cannot transfer him out of his department.

    The massacre in the movie theatre was triggered when an outsider, Cocchi, (Pier Paolo Capponi of "My Name is Pecos"), who is not a Sicilian, wanted to get into the family. Cocchi wants to deal in drugs. Don Corrasco (Richard Conte of "The Violent Professionals") doesn't want drugs in Sicily. Hmn, sounds like "The Godfather." Anyway, Do Corrasco refuses to have anybody in his family that has survived for 40 years who isn't a Sicilian. Fifteen minutes later in the movie, the remaining members of the crime family that Nick wiped out in the porn movie abducts the daughter, Rina Daniello (Antonia Santilli), of Don Giuseppe Daniello (Claudio Nicastro of "A Man Called Magnum), who set Nick on them. The abductors specify their demands: "We don't want money and we don't want the girl. Nothing is going to happen to her, if we can have you, your life for hers. We figure that's a fair exchange." Meanwhile, Cocchi's perverted hoodlums ply poor Rina with liquor and rape her with gleeful abandon.

    The Don refuses to let Don Giuseppe exchange himself for his daughter. "They would torture you first, would just kill you, they would torture you first. They'd eventually make you tell them who the family contacts are. I'm not thinking of myself but the family it existed for forty years, Giuseppe. We've built it up and defended it together. Nothing is yours not when it interferes with the family." Nick suggests that they offer Cocchi money to stall for time. He insists also that they tell the kidnappers that Don Giuseppe has suffered a heart attack.

    When Don Giuseppe wants to buy his daughter back without Don Corrasco's permission, Nick shoots Giuseppe and has his body cremated. Nick is an orphan who Don Giuseppe Daniello was raised as his own son, but he has no qualms about killing Giuseppe and Giuseppe's right-hand man. Nick arranges a deal with another gangster, the brother of the Mafia chieftain that he exterminated in the movie theatre. The guy reveals the whereabouts of Rina. Single-handedly, Silva rescues her as two thugs are raping her and kills them without a qualm. He drives through a wall and smashes another car into three pieces.

    By this time, all the bloodshed has upset Mafia leaders in Rome. They want to see Cocchi and Don Corrasco strike a deal so the killing can stop. Don Corrasco dispatches Nick to finish off Cocchi's gang. The Mafia liaison from Rome urges Don Corrasco to eliminate Nick. According to Don Corrasco, Nick is a man of "infinite resource." Nevertheless, the Don arranges a deal with Torri to arrest Nick and find incriminating evidence that Nick was behind the movie theatre massacre. Torri confronts Nick at his apartment. Nick turns the tables on Torri and forces him at gunpoint to call up Cocchi and invite him to visit him.

    "The Boss" chronicles one bloodbath after another with double-crosses galore in a Mafia power struggle over territory. This is one of the very best Mafia melodramas to come out of Italy.
  • The Boss is the third and final part of Fernando Di Leo's loose trilogy based on organised crime, and it's also the weakest. Milano Calibro 9 and The Italian Connection are without doubt two of the finest examples of this genre, but while this one isn't particularly bad; it's not great either, and despite a number of standout moments; The Boss grinds to a halt on more than one occasion, and I was nowhere near as gripped during this film as I was during the other two parts of this trilogy. The film is more focused on the 'organised crime' angle than the other two films; and The Godfather seems like an obvious influence. The film focuses on a war between two rival mafia families. Things start to get out of control after an attack on the local porn theatre, which leaves a load of gang members dead. Naturally, the wronged gang decides to take revenge for these killings and goes about kidnapping the rival don's daughter Rina Daniello. At the centre of the tale is the Nick Lanzetta, the assassin behind the killings in the theatre.

    The film gets off to an explosive start with a sequence that sees the central character blow a load of people away with a grenade launcher. This is somewhat misleading; as a film with an opening like this really promises excitement all the way through, but unfortunately things slow down after that, which really annoyed me. The film does feature some other interesting scenes (including a nice death scene that sees someone get a flick knife in the mouth), but The Boss never manages to top its opening scene. A lot of the film is made of talking, and that's not what I tune into this sort of film for; I prefer my Polizi full blooded and full of car chases and gun fights. Like the superior 'Italian Connection', this film stars Henry Silva. The cult actor made a number of these films, and he suits the hit-man role well. Seasoned Italian cult film actor Richard Conte stars alongside Silva and also does well also. I have to say that I was losing interest by the end, but thankfully the film does have just about enough about it to ensure that it's worth seeing for fans of this usually wonderful genre.
  • Warning: Spoilers
    Rugged and vindictive gang leader Cocchi (surperbly played with live-wire brio by Pier Paolo Caprioli) survives a bombing at a movie theater and vows revenge on both cold, ruthless hit-man Nick Lanzetta (a deliciously vicious and remote portrayal by Henry Silva) and steely, formidable Don Carrasco (a fine performance by Richard Conte). This sets off a chain of violence which threatens to destroy everyone involved in this fierce dispute between two warring rival Mafia factions. Writer/director Fernando Di Leo once again proves that he was one of the most capable and underrated filmmakers to ever work in the Italian crime thriller genre: the hard, gritty and uncompromising tone never gets remotely silly or sappy, the outbursts of raw brutality are truly jarring, the action set pieces are staged with considerable skill and flair (the bombing which opens the picture is especially exciting), the surprise ending is quite powerful, and there's a pleasing amount of tasty sex and yummy female nudity to further spice up the already engrossing proceedings. Moreover, we even get some pointed social criticism about prejudice against non-Sicilians in the Italian mob and how the lack of order and discipline creates chaos within the Mafia. The super acting from the top-rate cast also warrants praise: veteran supporting bad guy thespian Silva excels in a rare substantial lead, Gianni Garko marvelously snivels it up as wormy corrupt cop Commisario Torri, Claudio Nicastro does well as the excitable Don Giuseppe D'Aniello, and the lovely Antonia Santilli steams up the screen with her sizzling turn as D'Aniello's jaded, yet alluring junkie whore daughter Rina. Franco Villa's crisp cinematography gives the film an attractive glossy look. Luis Enriquez Bacalov's groovy, moody, syncopated score totally hits the funky pulsating spot. A bit too talky and a tad sluggish in spots, but overall a most worthy item.
  • The first Fernando Di Leo film I've seen, and I heard it was one of his lesser films. But wow, if this is true than I can't wait to see the rest because I am impressed. Firstly it opens with a bloody, explosive scene borrowed from by Quentin Tarantino in "Inglorious Bastards," which makes Quentin's version a tad lamer. After that it doesn't lose its momentum, and were given an hour and a half of cool violence by an Italian hitman with a killer soundtrack playing in the background. The lady love in this film, a nympho, the daughter of the "Don" was also nice to look at. Overall an original film with decent characters and little dull moments. A good poliziotteschi.
  • The indelibly iconic, 'Il Boss' remains a sinuous, stiletto-sharp, heroically hard-boiled Mafiosi-noir from famed poliziotteschi stylist, Fernando Di Leo. Starring the notably stern, Stoic to the point of terminal rigidity, Henry Silva, delivering yet another coolly charismatic performance as the vicious,ice-veined terror-thug, Nick Lanzetta, with fading Hollywood matinee idol, Richard Conte lending his swarthy, old world gravitas to the meaty role of octogenarian Sicilian king pin, Don Carrasco. All this uniquely explosive, stylishly rendered retribution is excitingly catalysed by another funky, uber infectious score by long-time, Di Leo collaborator, maestro Luis Enriquez Bacalov. 'Il Boss' thunderously remains an absolutely essential, mongoose mean Spaghetti shoot 'em up, and thankfully, Di Leo flinches not a jot from the requisite Mafiosi movie mantra of seriously squib-happy ultra violence! If you have yet to be dazzled by any of maestro, Fernando Di Leo's strikingly stylish, meticulously crafted gangster epics, one should manifestly start here, as the Neolithically nasty, Nick Lanzetta is one of the most mesmerically Machiavellian, blithely blood thirsty hit man to have ever blazed a ballistically bellicose swathe across the Silva screen!
  • Warning: Spoilers
    OK, so maybe such a comparison has grown tired, but given the year this film was released and the more than likely inspiration it received from the former, it makes sense. Anyway, I just re-watched the Raro DVD edition of this classic 1973 Italo-crimer. I must say the film is even better the second time around as it allowed me to notice details I was previously unaware of. This film is easily one of the best Di Leo crime flicks and ranks as one of my favorite Mafia film of all time. The film begins with a fantastic opening sequence which is absolute exploding dummy heaven. That particular scene features Henry Silva blowing away a group of horny elderly Mafia bosses with a rifle mounted grenade launcher! What follows is a compelling Mafia story chronicling the rise of Silva's character to the top. Plenty of interesting events ensue, one of which features a montage of atrocities equal to 1,000 'Godfather' baptism scenes. Henry Silva plays one crazy mofo in what is perhaps his coolest role and Luis Enríquez Bacalov provides a truly awesome score (even if it is somewhat a rehash of his earlier work on 'Summertime Killer'). With plenty of action this is an absolute must see for fans of poliziotteschi. Also watch for Hollywood veteran Richard Conte and Spaghetti Western star Gianni Garko who appear in memorable roles.
  • Henry de Silva at his best in a role reminescent of early Marvel Punisher completely steals the show in an already absolute masterpiece of cinema. Don't miss it for any reason.
  • Warning: Spoilers
    After the thrilling white-knuckle ride of The Italian Connection (1972-also reviewed) I got set to discover who's the boss.

    View on the film:

    Re-inserting part of a scene that was not dubbed into English, Raro Video present a terrific transfer, with a great, clean soundtrack and a fine print,all backed by a very good documentary.

    Reuniting with the film maker after The Italian Connection, Henry Silva gives a terrific performance as Neo Noir loner hit-man Lanzetta, who Silva holds to a cold gazes as he carries out brutal murders on gangsters with no interest in the reason, until a job leads to him becoming caught up in the middle of a gang war, while Antonia Santilli (who was nervous about giving a good performance,later praised by the cast/crew in the making of) gives a great, free spirited turn as D'Aniello, with Santilli capturing the chilling abrasiveness, from the gangsters getting their hands on her free-wheeling life.

    Closing the trilogy via setting up a sequel that sadly never arrived, writer/ directing auteur Fernando Di Leo reunites with cinematographer Franco Villa, and binds the stylization of the first and second parts into one thrilling Neo-Noir Italian Crime Poliziotteschi bundle.

    Kicking off with an explosive assassination sequence inside a cinema, Di Leo continues to expand on his hard-edge staging of Action set-pieces, via scatter-gun whip-pans, blunt-force crash-zooms and coiled close-range close-ups on Lanzetta, that are paired with lingering, icy wide-shots, where Di Leo displays the ruthless crimes spreading across the streets.

    Referencing in the film then-Minister for Parliamentary Relations Giovanni Gioia as being involved in the Mafia, (Gioia sued,then later withdrawed his lawsuit,and mentions to him remained) and loosely adapting Peter McCurtin's novel Mafioso, the screenplay by Di Leo loads a continued exploration in his major recurring themes of a loner ( Lanzetta) getting his hands dirty in an underworld with no morals or code of loyalty, with Di Leo fully displaying the inner-workings of the underworld in clinical sequences that reveal who is the boss.
  • As much as I dislike radical feminism - I am glad something like this could not be made today. Ideal showcase for the classroom. You can literally smell the misogyny.
  • Warning: Spoilers
    I see from almost all the other previous user comments that this Fernando Di Leo movie is held in high esteem. But to be honest, it failed to move me. Now, I'll admit that it's not without merit. Luis Enriquez Bacalov contributes a pleasing musical score. Imported star Henry Silva does well as a ruthless hit man, being cold yet captivating. And the movie starts off with a literal bang. Unfortunately, after that memorable opening, the movie quickly slows down and keeps that slow pace for most of the remaining ninety or so minutes. There's hardly any more action, and the little there is for the most part isn't that memorable. Most of the movie is talk, talk, and more talk. Maybe the intent was to portray the mafia in a more realistic manner, and I would have been open to that angle had I had a good sense of a swiftly moving twisty plot and memorable characters. However, that is not what is provided. The movie is very slow and drab instead. I've liked other Di Leo movies before, but this one is tough to sit through. Thank goodness that the sequel promised at the end of the movie never got made.