Long time I didn’t write any lines in this blog. Been busy with what we like to call “life”.
Anyway, today’s film is a nice piece of what I call hardboiled italian style. The name of the film is “La Mala Ordina”.
Fernando Di Leo is quite probably the only guy that we could put at the same level Umberto Lenzi is when it comes to Polizzioteschi. Actually, the guy is so good that you could even say that from a technical point he is even better than Di Leo. That might be misunderstood and one could even think that the guy is a fucking artsy fagot that just because couldn’t do the films he wanted, he applied his artsy crap to the Action genre… No, that’s not the case. His films are far more violent and raw than any of Lenzi’s works and that’s because three things that out-stand in any of his works:
- The character development is by far better than any other Polizzioteschis. It’s not black or white. You have characters that evolve from good to bad and viceversa.
- The violence is what runs the plot. It’s not the plot containing some violence. The violence as an act that drives things.
- The music scores are somewhat more powerful and catchy than in any other Polizzioteschi (Stelvio Massi ones aside)
That said, La Mala Ordina is a story of transformation and evolution. It’s the story of a nobody that run by the circumstances and the always-present violence decides that enough is enough. In a wonderful performance by Mario Adorf, we see the story of a low-number guy in a Mafia Organization that run by the bad luck of having been chosen to pay for the big boss’s greedy attitude.
During the first half of the movie, we’ll see Adorf run away from the bad guys (excellent Henry Silva in the role of a italo-american hitman send to kill Adorf, also Woody Strove)… he doesn’t entirely understand why he is running away, neither we do… As the plot evolves and that violence becomes more present, we’ll start to understand why… And just when we finally grasp it, then the plot evolves into a story of vengeance… crude vengeance.
Pay attention to the classic chase scene where Adorf become a raging bull and also to the ending… which IMHO is surprisingly good and demonstrates, once again, where do Hollywood get ideas from when they run out of gasoline (see Quentin Tarantino and the crap he produces to the major admiration of his legion of fans).