UnowPriceless hyped garbage

LouHomey From my favorite movies..

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Michael A. Martinez This is one of those few films I wish would be discussed in more detail, but it fits in such a niche of a market that I doubt it'll ever happen.In the 1970's, it wasn't uncommon for Italian B-movies to shoot a few exteriors in New York City but quite rare for the poliziotteschi genre. Sure there's a few films like STREET PEOPLE, BLAZING MAGNUMS, and STATELINE MOTEL but for the most part tried to play themselves off (unsuccessfully) as American movies.As Umberto Lenzi's only cross-pond crime movie excursion and only teaming with famous Neapolitan crooner Mario Merola, this film stands out for several reasons. One, it's odd to see a eurocrime movie starring Maurizio Merli so focused on plot and characters. From start to finish, there's a single narrative thrust and tension running high throughout and even some personal investment on whether the characters live, die, or finally face sweet justice for their transgressions.Secondly, it's almost more of a travelogue than an action movie. The film has no less than 4 sequences where characters sit in a car and look around while intercutting to a lot of filler footage of street scenes filmed from a moving car. While this sort of thing usually drags a B-movie down, it oddly fits in with the gritty, trashy feeling this film evokes from the sloppy cinematography and chaotic and funky score by Franco Micalizzi. You can either look at it as a more bizarre, improvised version of a Lenzi movie or a really polished version of an Alfonso Brescia-helmed scungy crime drama.That said, there's plenty about this movie that really doesn't make sense (unless something was lost in translation). Why does Merli have to escort his witness by rail and car from Palermo all the way to Rome first in order to fly to New York? Surely in 1979 there had to be at least a few direct flights from Palermo to New York, or at least to Rome? Well, if they'd have just hopped on a plane at the start, it wouldn't have been the same movie. However I'd wager that it could only have been better as the film really picks up the most once it plops macho Italian crimefighter Maurizio Merli on American shores in the snowy, garbage-strewn, hoodlum-infested streets of 70's NYC.

Lee Eisenberg Umberto Lenzi, in case you've never heard of him, is an Italian director of various kinds of exploitation flicks: horror, crime drama, and even spaghetti western. The first movie of his that I ever saw was "Orgasmo" - called "Paranoia" in the US - in which Carroll Baker (of "Baby Doll" fame) plays a woman who moves to Italy and gets to know a young couple who aren't what they seem. Now I've seen another one of Lenzi's movies: "Da Corleone a Brooklyn" ("From Corelone to Brooklyn" in English). Maurizio Merli, who was apparently famous as a Franco Nero lookalike, plays a cop helping a low-level mafioso testify against a big-time gangster. I actually found much of the movie to be really slow-moving, but the last half-hour or so made up for that. Even so, the European exploitation flicks that I prefer are the ultra-gory ones.

django-1 FROM CORLEONE TO BROOKLYN is an exciting late 70s Italian crime film starring the dynamic and handsome Maurizio Merli as an Italian cop who is trying to find a killer who is mob-connected and who eventually has to bring a witness to the United States to testify against the suspect in order for the suspect to be extradited back to Italy. Written and directed by Umberto Lenzi, who directed any number of excellent police films in the 70s (and four great vehicles for Carroll Baker in the late 60s/early 70s), the film moves at a brisk pace and because Mafia killers are after Merli and his witness, the viewer never knows when they will next be attacked or by what method. The pulsating, police-funk score gives this the classic "sound" of a 70s euro-crime film, and the fatalistic ending is something one would rarely see in an American film. Van Johnson, as the New York police lieutenant who works with Merli, does a fine job of barking orders at underlings and projects a genuine concern for Merli's task and situation. I'm still not sure if Mr. Johnson did his own dubbing on this film, but had a cold and was not well-recorded, or whether someone was doing a Van Johnson imitation--after all, Johnson is an EASY to identify actor with distinctive phrasing and accent. A mimic could listen to the soundtrack of one of his films and do a decent impression. In any event, this would rank among the top third of 70s Italian crime films that I have seen. Also, much of the location shooting is in New York and is shot when there is snow on the ground, so the atmosphere is important in the film Recommended to fans of this genre of film, FROM CORLEONE TO BROOKLYN is an example from the "golden age" of Euro-crime films.

sangue From Corleone To Brookln is one of Umberto Lenzi's best crime films, which is saying lot because he directed many classics in the genre.Maurizio Merli plays Berni, the usual P.O. cop, and here he has to escort a lowlife criminal (Biagio Pellegra) from Italy to New York so he can testify against a mafia head.the mafia have set up a series of traps along the way, making things a bit difficult for the boys.at times very suspenseful, action packed and helped along by one of composer Franco Micalizzi's best scores, From Corleone To Brooklyn gets my highest recommendation.sadly, this would be the last "real" crime film Lenzi would make, but at least he went out with a bang!