PERFECT KILLER, THE

Aka Quel pomeriggio maledetto (I), Objetivo: matar (Es)
1977
Italy/Spain
Mario Siciliano for Metheus Film (Rome), Julio Perez Tabernero (Madrid)
Director : Mario Siciliano
Story : Santiago Moncada, Marta Siciliano
Script : Santiago Moncada, Marta Siciliano
Music : Stelvio Cipriani
Cinematography : Alejandro Ulloa {Scopecolor}
Editor : Otello Colnageli
Art director : not accredited
Original running time : 105 mins
Italian takings : n/a
Shot at: n/a
Cast : Lee Van Cleef (Harry Chapman), John Ireland (Benny), Tita Barker [Carmen G Cervera] (Krista), Robert Widmark [Alberto Dell'Acqua] (Luca), Al Landy [Aldo Bufi Landi] (Jack), Diana Polakov, Paolo Manincor, Fabian Lopez Tapia, Karin Well (Liz), Jean Pierre Clarain
Uncredited : Fernando Sancho (the arms dealer)

This is one of those crime films that dispenses with the police altogether, allowing an assortment of chancers to fight amongst themselves for revenge, money and - well - the pure hell of it. As such it could be cited as an ideal example of the contemporary Spaghetti Western, in which the spurs are swapped for sideburns and horses for horsepower. It's all the more appropriate, therefore, that old 'eagle eyes' himself, Lee Van Cleef, is given the leading role.

He plays Harry Chapman, a cravat-wearing hood who is betrayed to the coppers by his best friend, Jack (Aldo Bufi Landi). He soon manages to escape from prison with the help of the shadowy 'Organisation', who also employ him as a hired killer. He takes to the job like an anchovy to pizza, and we are treated to several scenes in which people walk around, the music kicks in, a shot is heard and they drop down dead. He becomes disillusioned by the job when he is sent unknowingly to kill his old cellmate, so he decides to quit. Unfortunately the 'Organisation' doesn't like quitters, and send a preening pretty-boy, Luc (Robert Widmark) to eliminate him. The ensuing attempt on the old pro's life is staggeringly unsuccessful, with the younger man left in the clutches of a gaggle of terrifying-looking transvestites!

Harry, meanwhile, decides to take on one last job - an assassination on the Costa Brava - to help finance his imminent retirement. As is the way with these things, his intended target turns out to be Krista (Tita Barker), the ex-girlfriend who helped to originally shop him. She claims that it is in fact Jack - now her husband - who has taken out the contract on her. She also informs him that she knows a way to steal several million pounds from an arms dealer who lives in one of the neighbouring villas. Harry weighs up the options, decides that bed is a better than bullets and decides to help her. Not such a good idea - she's probably the most devious of the bunch.

To make matters worse, Luc - newly donned out in an assortment of snazzy three-piece suits - is on his trail and increasingly psychotic.

After an extremely choppy opening this turns out to be a strangely compulsive affair. It's certainly low budget and displays little in the way of artistic finesse, but has an enjoyably downbeat ambience, not too distant from that of another Robert Widmark film of the time, Killer's Gold. It certainly leaves no opportunity for sleaze uncovered, basking in a succession of naked flesh, deviant behaviour, women being shot in the crotch and pointless nightclub scenes. Santiago Moncada's script, however, is refreshingly different - if not actually very good - for a late seventies crime film, throwing in copious twists and tumbles with abandon. It also has to be said that the whole thing is helped along considerably by a fabulous Stelvio Cipriani score. Someone release this, please.

Director Siciliano was unquestionably a hack, but he could turn out work that was of a decent vintage - grimy but nihilistically effective. His Gianni Garko western, Cowards Don't Pray (68), is a particular favourite of mine. Later in his career he turned towards porn in a big way, helming such dubious delights as Orgasmo Esotico (82) and Sesso Allegro (81) - which, if they are of the same calibre as the moments of erotica on display here, must be unwatchable.

Van Cleef often looked out of place in non-westerns, but is pretty good in this, mainly because he isn't really called on to do much more than act the mean bastard. It's when he's given funny lines and allowed to become sentimental that his problems start. He's rather outshone, though, by 'The Fantastic Superguy' himself, Robert Widmark, who manages to remain unusually watchable throughout as the slimy crackpot with a bizarre voice and even more bizarre tailor.

Reviewed by Matt Blake