User Reviews

Stylish, moody, innovative revenge-driven bloodbath. Also cheesy, of course, and sporadically very cheesy. It reminded me a lot of The Big Heat because it has the revenge plot set off by the exact same event, and the girl comes around to the good guy's side because of the same bad behavior by the bad guy. It's sad there's no Gloria Grahame but so fantastic that it's Alain Delon and not Glenn Ford. Could there be anyone as beautiful as Alain going around in a cashmere sweater and trenchcoat? Yet he's totally tough and icy cool. No one nowadays can touch him--though someone like Jude Law could try I guess. Hard for any girl to look good with him. The music was funky and perfect and there were several excellent car chases (and those aren't generally my cup of tea)--especially one willy nilly one in the woods. People also met their dooms in creative and bloody fashion, for instance in a junkyard cruncher. But beyond the cheese, the overall atmosphere was affecting and expertly pulled off. More creativity, excitement and freshness in that "forgotten" movie than most of what I've seen lately.

The explosive, sharp-shooting underworld thriller, 'Tony Arzenta' remains an absorbingly gritty Euro-crime classic from expert genre director, Duccio 'Puzzle' Tessari. There's simply no earthly good reason why this uncommonly adrenalizing 70s revenger shouldn't be mentioned in the very same J&B bated breath as cult favourites, 'High Crime', 'Violent Professionals', or 'Violent Rome' as,'Big Guns' high caliber poliziotteschi, and in some specifically groovy sequences, Duccio Tessari's Teflon tuff, well oiled shoot' em up teasingly usurps them!

Employing the reserved, Martini-cool Gallic master of Alpha understatement, Alain Delon as grieving, pitilessly vengeful, Tony is a casting coup; the frosty-eyed, whippet-lean, enigmatic arbiter of righteous retribution, blazes his balletic trail of brutal revenge deep into the ruinous underbelly of the Cosa Nostra remains a gloriously cathartic experience! I readily admit that the unspectacular premise of a weary hit man striving to break free from the mafia's mercenary clutches is a well-thumbed conceit; but when said coda is so rigorously reinterpreted by the uncommonly talented duo of Delon/Tessari, and throbbingly propelled by a truly lovely, heart-skippingly sexy score from gifted sound-wrangler, Gianni Ferrio, any hint of formula is resolutely quashed beneath Big Gun's stylish torrent of cinematic savvy, and the electrifying charisma of the polo necked prince of retro killer chic, Alain Delon, makes resistance nigh on useless!

as many others. at the first sigh. different not only for the experience of director in the genre but for Alain Delon. who gives the impeccable performance from many others roles of his career. Tony Arzenta is a film about Mafia but different by expectations. for the small details. for the way of revenge. for atmosphere. sure, for the end. the flavor of Scily story, old, patriarchal, deeply defined by tradition, only a nuance but one real important is the piece who defines this seductive thriller about a man looking his definition of justice. short, a film who must see. for story. and, more important, for interesting science to explore old clichés of genre in the inspired manner. a beautiful film.

The Eurocrime subgenre was quite popular in the late 60s & early 70s. But in all honesty most of them are cheap and badly made films. Tony Arzenta (Big Guns) is, despite its terrible title, a positive exception. And that is for three reasons: a cool Delon performance, a superb soundtrack and a great 70s atmosphere. The action is not bad, the story is the most standard story out there (former hitman takes revenge on his old employers for killing his family) and the acting is wooden at its best. But there is something about this film that makes it better than most of its fellow Eurocrime flicks.

The Italian crime genre owes a lot of its trademarks to Don Siegel's landmark cop flick Dirty Harry, but Big Guns appears to be cashing in more on the success of Francis Ford Coppola's landmark mafia flick The Godfather. Considering this film is called 'Big Guns', there isn't a great deal of gunplay; and unfortunately, a lot of the film is taken up by talking, which didn't really go down very well with me. This type of film is famous for its entertaining set-pieces, which often include car chases, gunfights and fist fights. There are plenty of car chases in this film, and many of them are very well filmed. The plot is not exactly original or groundbreaking, and simply focuses on a hit-man named Tony Arzenta, a man who had had enough of his mob life and decides that he wants to leave their employ. However, as anyone who has seen a mob film will know; these guys don't like people walking out on them, and the mob takes it upon themselves to ensure that Tony doesn't leave their employ alive. Naturally, this leads to a cacophony of violence.

The film features a few faces that will be familiar to fans of Italian movies. Alain Delon is good in the lead role, and receives good support from the likes of Richard Conte (who starred in some of the best Italian crime films, including Martino's Violent Professionals), cult film veteran Anton Diffring, and one of my personal favourite actresses Rosalba Neri; who unfortunately doesn't appear for very long. The plot does feel a little tired, and while I mostly enjoyed this movie; it has to be said that there's better examples of the Italian crime film out there. I'm rather surprised that this film has received mostly positive reviews across the board as, generally speaking; the average vote for an Italian film is a few grades lower than mine! Still, while I can't say that I rate this film among the best of the Italian output - it's well directed and while I wasn't blown away; at least it isn't boring. Overall, Lenzi's crime films; as well as a choice few others such as Street Law, The Heroin Busters and The Violent Professionals, come recommended over this one; but Big Guns is at least worth watching.

Alain Delon is great as usual in the genre that fits him like a glove. Tony Arzenta, a Euro-crime action thriller is directed in style and in a manner of a true craftsmen. This is the first Duccio Tessari film I had a chance to watch, and I was mostly drawn to it by knowing what Delon plays best and that is Le Samourai type character, a professional in his emotionless job. In this one he is attached and detached and drives the story to the conclusion that wouldn't stand a New York minute in Hollywood factory of dreams. That's why I love him and Franco/Italian crime films. Highly recommended to all the fans of this genre. You'll enjoy it, no doubt.

Hit man revenge film.

A hit man wants out of the mob. The mob double crosses him. He gets some revenge by killing most of those involved.

This film has some strong action scenes. Some good chases. Lots of shooting. It's all done rather well. The acting better than average across the board here.

However, I was not a fan of the ending. I won't spoil it here. You'll either love it or hate it or ...not care either way. I didn't like it. A better ending, and this one could have been something special.

At the start of this film, hit-man Tony Arzenta wishes his son many future birthdays, so you kind of know how that's gonna work out...eh? One accidentally blown up family later, Tony's out to get everyone involved. All he wanted to do was leave the mob, but we all know that there's only one way to leave the mob, and that's by industrial tribunal...no wait...

What made this film stand out for me is the overwhelming sense of style that is apparent in every frame. The primary colours are played out with precision in every scene, from the decor, to the clothing, to parked cars, everything is decked out in yellow, blue, or red. Watch the film and see what I mean. An immense amount of detail has gone into the cinematography here, and that makes the film worth watching.

Other than that - our leading man in icy and laid back, but it's Richard Conte who stands out for me as the mafia don. He's world weary and genuinely shocked that the mafia have accidentally killed a woman and a child, and his whole approach to the Tony Arzenta problem is handled in a business-like, resigned manner. Conte is great here, just like he was in The Violent Professionals.

This is a classic and was unknown to me until I received it as part of an Italian Crime Movie box set. One of the best (in my opinion, of course).

.. Delon? That's something that I reckon is more true of other movies, but since he is involved in this one too, let's just say it for this too. You may know him from other bigger roles and movies, but this little movie that can is also one to watch out for.

There is nudity and a lot of violence. Some you may feel is too much (especially when it comes to hurting females), but you always have to see this as a movie of the time. While certain things are being hinted at and you may disagree with priorities the hero sets out ... it is what it is. He still is a "good" one ...

I have just finished watching a Japanese video version of this film (titled Big guns) and found it very entertaining. I would recommend this Franco/Italian made movie to any lovers of the Italian crime genre,why, well for a start the great cast of Euro-stars, apart from Alain Delon there's Marc Porel (Murder to the tune of 7 black notes/live like a cop die like a man), Anton diffring, Richard Conte, Carla Gravina and Erika Blanc. Also the way the movie was executed, a familiar story (of a mafia hitman who wants to retire) but shot and paced excellently. Of course- things don't go to well for the 'want-out' hitman (Delon) and finds himself with a personal vendetta on his hands.

Great bloody shoot-outs, great car chases, sexy leading ladies (who also get ruffed-up) and a phat "Schiffrintastic" score sometimes reminiscent of 'Harry's creed'. The version I watched ran into 112 mins and was widescreen.

If you get the chance, check this one out.

Nothing original in the story here of mafia guys falling out, something going wrong and the wronged one seeking revenge. Directed with such slickness by Duccio Tessari, however, that it is a great watch. Great locations, including Copenhagen, Milan and Sicily even if the weather in the Northern cities looks so dismal. Interiors are also shot with fine Italian style, colourful fashionable furniture and lampshades, a fish tank, of course plus the essential bottles of J&B here and there. Alain Delon persuades with often no more than a glance and is ably supported by Richard Conti and others. Erika Blanc and Rosalba Neri regrettably have only the tiniest of roles but Carla Gravina (The Antichrist) is great - she spends half her screen time laying dishevelled and bloodied but scrubs up nicely for the last section and does well alongside Delon. Predictable, as I say, but still irresistible.

Poliziottesco in a class of its own with Alain Delon and Richard Conte

A few years after "Gli bastardi" with Giuliano Gemma and Klaus Kinski and a year before "Uomo senza memoria" with Senta Berger and Luc Merenda, Duccio Tessari directed this mercilessly straightforward crime film that cools down the Italian mafia landscape with a few ice cubes of French existentialism . Excellently produced by Luciano Martino, the film grossed ITL 1.945 billion at the Italian box office.

Tony Arzenta (Alain Delon) lives as a contract killer in Milan and wants to retire to have more time for his wife (Nicoletta Macchiavelli) and child. The bosses aren't having it and are trying to snuff out Tony's life. This is going wrong! Instead, his wife and son die cruelly. Now Tony goes into hiding and takes cruel revenge on all bosses and accomplices. Really beautiful in the Ice Cold Angel style! This also goes to Germany and Denmark. At some point, Tony, who is supported by his friend Domenico Maggio (Marc Porel), gets fed up with murder. He wants to find peace in his home in Sicily. Then final boss Nick Gusto (Richard Conte) makes him a tempting offer...

This film features an array of stars from Italian genre cinema: Carla Gravina, Roger Hanin, Anton Diffring, Umberto Orsini, Silvano Tranquilli, Corrado Gaipa, Erika Blanc, Rosalba Neri, Ettore Manni and Loredana Nusciak are part of the cast. In addition to the Italian ambience, a touch of French touch is undeniable, but that also makes this film something special. Things are a little quieter, with long looks rather than fast car chases.

And then Golden Globe candidate (nominated in 1964 for "Il gattopardo") Alain Delon is simply in a class of his own. Seeing him in a Poliziottesco is simply worth a sighting.

Nice action movie, fast pacing, great acting for those times. The only thing I didn't like is that this seems to have no been filmed in italian. All (??) the actors had their voices dubbed in italian and that was not a nice thing to hear.