A Genius, Two Partners and a Dupe

Director: Damiano Damiani
Written by: Damiano Damiani, Ernesto Gastaldi, Fulvio Morsella
Cast: Terence Hill, Miou-Miou, Robert Charlebois, Patrick McGoohan

Year / Country: 1975, Italy, France, West Germany
Running Time: 118 mins.

By the 70’s, the spaghetti western had almost become a parody of itself. The serious violent westerns were barely released outside of Italy, while comedy-westerns such as the ‘Trinity’ movies were immensely popular internationally. Genre originator Sergio Leone decided to make the ultimate parody himself in 1973. This became My Name is Nobody, starring Terence Hill. It was a box office hit. In 1975 Leone produced the loose sequel called A Genius, Two Partners and a Dupe, also known as Nobody’s the Greatest. While it was once again popular at the box office due to Hill and Leone’s involvement, the critics didn’t like it. And understandably so.

Hill essentially reprises his Nobody role. His character Joe Thanks is a genius conman. Together with his friends Steam Engine Bill (Robert Charlebois) and Lucy (Miou-Miou) he cooks up an elaborate plan to steal 300.000 dollars from the Indian-hating Major Cabot (Patrick McGoohan). Whenever things are about to go wrong, Joe, the genius, knows exactly what to do.

Leone came up with the idea for the plot after seeing Las Valseuses, starring Miou-Miou, who he then cast as Lucy. Besides producing, Leone also directed the opening scene. The rest of the film is directed by Damiano Damiani, who made one of the greatest spaghetti’s in 1966: A Bullet For the General. This was the last western Leone worked on. He was disappointed with the result and chose to remain uncredited. I can’t blame him. This is pretty much a mess and most of the jokes miss their mark.

Like in all of Leone’s projects, the original score is composed by Ennio Morricone. The very electric score in this film is one of the few things it has going for it. His adaptation of Für Elise, combined with the wailing from The Good, the Bad and the Ugly is a beautifully constructed highlight. That is basically it though. One can only conclude that by this time, the spaghetti western was truly dead.

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Biography: Damiano Damiani (1922, Pasiano, Italy) is an Italian screenwriter, director and actor. He won awards for several of his films, such as the Mafia drama The Pizza Connection. In the eighties he also made the renowned mini-series La Piovra (The Octopus) about a prosecutor’s battle with the Mafia. This successful series ran for eight series on RAI Uno and turned out to be one of Italy’s bestselling series abroad.

Filmography (a selection): The Hit Man (1960), Lipstick (1960), The Empty Canvas (1963), Strange Obsession (1966), A Bullet for the General (1966), The Day of the Owl (1968), The Most Beautiful Wife (1970), How to Kill a Judge (1974), A Genius, Two Partners and a Dupe (1975), Goodbye and Amen (1977), A Man on His Knees (1978), The Warning (1980), The Octopus (1984, mini-series), The Pizza Connection (1985), The Inquiry (1986), Massacre Play (1989), Angel With a Gun (1992), Killers on Holiday (2002)

Fist of Honour (1993)


‘There is no honour in death…only in war’

Directed by:
Richard Pepin

Written by:
Charles T. Kanganis

Cast:
Sam J. Jones (Fist Sullivan), Joey House (Gina), Harry Guardino (Dino Diamond), Abe Vigoda (Victor Malucci), Nicholas Worth (Tucchi), Bubba Smith (Detective Johnson), Frank Sivero (Frankie Pop), Scott Getlin (Eddie the Zipper), Jaime Alba (Sammy Malucci), Ali Humiston (Alex)

A party is held to celebrate the truce made between two godfathers; Dino Diamond (Harry Guardino) and Victor Malucci (Abe Vigoda). After two of Malucci’s men switch sides, Diamond decides to take out Malucci anyway. The fall guy is Fist Sullivan, who works as a debt collector for Diamond.

Attempt to cross a mob film and a fight film which basically fails in both genres. The crime story is filled with cliches and gratuitous violence and the fight scenes are horribly choreographed. Sam J. Jones gives a wooden performance as the lead character and the production value looks low.

Somehow it is still an entertaining viewing. It is strangely fun to watch stupid gangsters kill and be killed and to watch Jones kick the crap out of some ignorant debtors. It’s also enjoyable to watch Harry Guardino as the evil mob boss Dino Diamond.

Typical exploitation gangster flick so know what you can expect.

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Quote:

DETECTIVE JOHNSON: “You broke the truce in the worst way – I need a body.”

Trivia:

This was Harry Guardino’s final film. He died in 1995 of lung-cancer.

The Asphalt Jungle (1950)


‘The City Under the City’

Directed by:
John Huston

Written by:
W.R. Burnett (novel)
Ben Maddow (screenplay)

Cast:
Sterling Hayden (Dix Handley), Sam Jaffe (Doc Riedenschneider), Louis Calhern (Alonzo Lon’ Emmerich), Jean Hagen (Doll Conovan), Marc Lawrence (Cobby), James Whitmore (Gus Minissi), John McIntire (Police Commisioner Hardy), Barry Kelley (Lt. Ditrich), Anthony Caruso (Louis Ciavelli), Marilyn Monroe (Angela Phinlay)

John Huston’s The Asphalt Jungle (1950) opens with haunting images of a bleak, grey city; a deserted street where a police car prowls for a hold-up man. The scene sets the tone: a decaying urban jungle, teeming with hooligans, corrupt cops, racketeers, and desperate hustlers. It’s a world now lost to time, but one Huston brings to life with unflinching realism.

At the center of the story is master criminal Doc Riedenschneider, freshly released from prison and eager to orchestrate one last major heist. He enlists the help of Emmerich, a crooked lawyer with deep pockets, and together they assemble a crew. Among them is Dix Handley (Sterling Hayden), a former farmer turned criminal and a man of brute strength, sharp wit, and an unexpected sense of honor.

Huston delves into the greed driving these men, each chasing the promise of a life-changing score. Their dreams of what comes after the heist echo themes Huston explored in The Treasure of the Sierra Madre. But as a classic Film Noir, fate turns against them when Emmerich betrays his accomplices, absconding with the loot. The tragedy unfolds from there, compounded by the relentless pursuit of the police, who are just as hungry for their own ‘big score’. Huston underscores this irony early on, as cops raid a gambling den, knowing full well it’s a drop in the bucket of the city’s corruption.

The Asphalt Jungle is a gripping crime film, marked by Huston’s signature direction and standout performances. Hayden is particularly compelling as Dix, a man who is both intimidating in his criminal resolve and tender in his moments with Doll, his devoted girlfriend. The heist itself is a masterclass in tension, and the film’s denouement is tragic yet refreshingly free of heavy-handed moralizing. And for a fleeting moment, a young Marilyn Monroe graces the screen, radiant as ever in a small but memorable role.

A timeless noir, The Asphalt Jungle remains a stark, unforgettable portrait of ambition, betrayal, and the crushing weight of fate.

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Quote:

EMMERICH: After all, crime is only a left-handed form of human endeavour.

Trivia:

The third Film Noir effort from director Huston after The Maltese Falcon (1941) and Key Largo (1948). This is the first one without Humphrey Bogart.

A Fistful of Dynamite

Director: Sergio Leone
Written by: Sergio Donati, Sergio Leone, Luciano Vincenzoni
Cast: Rod Steiger, James Coburn, Romolo Valli, Maria Monti

Year / Country: 1971, Italy
Running Time: 147 mins.

A Fistful of Dynamite (also known as Duck, You Sucker!) is the second entry in Sergio Leone’s loose trilogy of epic films, sandwiched between Once Upon a Time in the West and Once Upon a Time in America. It is Leone’s final spaghetti western and his most overlooked film. But frankly, that is because it is his weakest. That’s not to say it’s without merit, but it lacks the tight storytelling and grandeur of his greatest works.

Set against the backdrop of the Mexican Revolution in 1913, the film follows an unlikely duo: the cigar chewing hick Juan Miranda and the dynamite juggling Irishman John Mallory. Their partnership begins with a planned bank robbery, only for them to discover that the bank is actually a political prison. Juan is unexpectedly thrust into the role of a revolutionary hero, and together, he and John take on the formidable Mexican army, led by a sadistic officer.

The film’s opening is striking. Juan shares a stagecoach ride with a group of wealthy elites who openly insult him and his people, branding them as animals while indulging in gluttonous excess. This immediately earns Juan some sympathy – until his six sons arrive to rob and humiliate the passengers, with Juan even committing an off-screen rape. Leone challenges the audience’s perceptions, presenting prejudice and social injustice while also revealing Juan’s own flaws. Enter John Mallory, an Irish dynamite expert who quite literally blasts onto the scene in a moment of cultural stereotyping played for dark humor.

Rod Steiger’s performance as Juan is divisive. While the character is intentionally unsympathetic, Steiger’s over-the-top acting makes him difficult to watch. Originally, Leone wanted Eli Wallach for the role, but the studio refused. While Wallach’s casting might have risked echoing his Tuco character from The Good, the Bad and the Ugly, it’s hard not to wonder if he would have been a better fit.

Leone claimed the film is ultimately about friendship rather than revolution. This isn’t immediately convincing, given Juan and John’s rocky introduction, but by the end, their relationship develops into something genuine and poignant. John’s journey, revealed through flashbacks, makes the bond between them all the more meaningful.

Despite its flaws – an overlong runtime, a less sweeping feel than Leone’s other Once Upon a Time films, and an Ennio Morricone score that, while good, doesn’t reach the heights of their other collaborations – the film still has standout moments. The ambush at the bridge is classic cinema, boasting one of the greatest explosions ever filmed. The panning shot along the execution ditches is haunting, and the climactic train collision is truly spectacular. Overall, the film is just not the revolution Leone’s earlier westerns were.

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Biography: Sergio Leone (1929, Rome – 1989, Rome) made his debut in the cinema working as a voluntary assistant and extra, among other things, in The Bicycle Thieves by Vittorio de Sica. Later, he became assistant director to Mario Bonnard. In 1959, when Bonnard was ill, he took over from him on the set of The Last Days of Pompeii. In 1961 he directed his first full-length film: The Colossus of Rhodes. But the film that was to bring him to the general attention came out in 1964: A Fistful of Dollars. His next films, For a Few Dollars More and The Good, The Bad and the Ugly complete what came to be known as the Dollars Trilogy and were a great box-office success. He would only make three more films before tragically passing away in 1989. He was taken from us by a heart attack in his house in Rome, while working on an ambitious project for a film on the Siege of Leningrad.

Filmography: The Colossus of Rhodes (1961), A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and the Ugly (1966), Once Upon a Time in the West (1968), A Fistful of Dynamite (1971), Once Upon a Time in America (1984)