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Wonderful Movie

Let's be realistic.

Expected more

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

First of all, I admit that I will watch anything with Alain Delon in it. Even that insufferably pretentious 1960s snooze-fest, The Eclipse. That drop-dead gorgeous man will continue to accelerate my pulse until I'm 90 (if I get that far). Nature's most perfect production and never repeated. Having made that clear, I'm surprised at the negative reviews. I find this second installment far superior to the first Borsalino. In the first place, it's daubed in English (American English) and that is a lot better than the first one, which was daubed by French people speaking English (and you can tell). In the second place, then fight scenes are much more realistic than in the first film, where you could see very clearly that the blows didn't even reach the recipient. IMO, the first Borsalino was more of a comedy caper, while B & Co. is more sober, more of a real gangster film. Perhaps a bit slow, but that's how they did things in those days. Personally, I prefer them to the crash, bang, thank you, ma'am 'action' films of today.Maybe I'm biased because I grew up watching European films of that era and I still love most of the French flic and gangster films made in those days. My advice to young people is if you cannot watch old films with an open mind (e.i. without automatically comparing them unfavorably to the new ones, or without making the necessary concessions) just pass them by. Stick to The Godfather and Good Fellas (the last one atrocious, in my opinion, but that's just me). All in all, B & Co. is not a bad film. Give it a chance.

BORSALINO & CO. (1974) starred Alain Delon and Ricardo Cucciolla.This is a sequel to the highly acclaimed BORSALINO which apparently is unavailable. Well, if there is one thing I hate it's dubbing. This was dubbed. Delon's voice was too low. The voices always sound disembodied to me.The story takes place in the mid-1930s France, and it concerns a gangland war between the Volpone (Cucciolla) gang and the Roch Siffredi (Delon) gang. Initially, Volpone wins and plans to saturate the country with heroin, but Siffredi carefully works out his revenge.It's a typical Godfather-type film without being the Godfather. Lots of cars crashing, violence, shooting, and a particularly unpleasant final scene. All very macho.On IMDb one of the posters said, "Alain Delon, already past his prime..." Yeah, what a dog. He was a GOD, and with his hair slicked back, evening clothes, and beautifully tailored suits, he looked as if he walked off the pages of Italian Vogue. If your idea of "prime" is 25, that's sad. To each age its own beauty.

I don't know weather it's just me, maybe I am used to Tho Godfather or Goodfellas types of crime movie, but I struggled watching this one. Really tried to immerse myself into that but I simply couldn't. Zero intensity, nothing to get excited about, predictable plot, unconvincing performances and all that gangster cliché story of revenge. It is really difficult for me to find any emotion apart from 110 minutes lasting boredom. Delon delivered below average performance and I didn't believe a single line he said. I immediately regretted watching the movie and felt frustrated because the movie gave me absolutely nothing apart from one lesson - to choose the movie more carefully next time.

Alain Delon, already past his prime, returns to the tried-and-trusted formula of BORSALINO (1970), a fondly-remembered gangster pastiche (which I had watched some time ago, albeit dubbed, and been somewhat underwhelmed by) with a surprisingly mean-spirited but ultimately indifferent follow-up. The film is one of a staggering 9 Delon made with director Deray (the only other one I've seen is LA PISCINE [1969], which I remember liking). However, since I had purchased LE SAMOURAI (1967) while in Hollywood and recently ordered LE CERCLE ROUGE (1970), I thought I might as well give this one a try...Though Delon served also as producer, he delivers a typically blank-faced performance and the film, with no new ideas in either script or direction, is tolerable mainly for its bouts of excessive, almost cartoonish violence. The international cast is reliable but their contribution is pretty ordinary on this occasion: Riccardo Cucciolla in a dual role (!) as Delon's gangleader rival and his twin; Rene' Koldehoff as Cucciolla's heavy-set chief thug; Catherine Rouvel (still looking gorgeous 15 years after swimming in the nude for Jean Renoir in LUNCH ON THE GRASS [1959]) also reprising her role from the original as a high-class prostitute and Delon's old flame, Daniel Ivernel (from Bunuel's DIARY OF A CHAMBERMAID [1964]) as the level-headed Police Commissioner, Alfredo Lastretti (from Jess Franco's VENUS IN FURS [1968]) as one of Delon's lieutenants...plus a blink-and-you'll-miss-it cameo from Anton Diffring (perhaps imposed on the film by its backers, BORSALINO AND CO. being a French/Italian/West German co-production).