A Brilliant Conflict

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

This is truly a marmite film - people love it for the madness that's contained within, and other people hate it and dismiss it as a foul piece of exploitation. It's a Euro-crime film but only barely, as it's really a twisted road trip film with a bunch of weird characters. Franco Nero plays dumb robber Mosquito, who hooks up with insane robber Memphis (Telly Savalas) in order to rob a jewellery store. After being in the store about ten seconds, Memphis loses his rag and shoots the owner multiple times, setting off the alarm and causing the robbers to grab the nearest cases and run. Things go from bad to worse when dumb getaway driver Ely Galleani crashes the car straight into a hearse, causing a coffin to smash through the window. After further crashing in a market, the trio finally grab another car from a rich lady and set off into the countryside, making for the border.This isn't as easy as it first seems, as it turns out that they have unwittingly taken the rich lady's son with them as he was hiding in the back of the car. After a strangely slapstick scene of the trio chasing Mark Lester around a field (where he kicks Telly Savalas in the balls) we see why people might hate this film. When he finds out he's being watched by a young Shepherd boy, Telly Savalas coldly murders him - then blames the Shepherd boy for running away!Yep, this is grim stuff alright. We also find out that Lester's parents are so removed from their child that they cannot agree on what age he is, so he's not exactly the most stable child either. The mother however does identify both Memphis and Mousqito, and a huge manhunt ensues. After the discovery that they have stolen a load of useless cutlery, things become even more strained, and Memphis becomes even more unhinged as everyone heads for the border...Although Telly Savalas' southern accent comes and goes, his performance as a nutcase is really quite good. He often sings to himself, refers to things his mother told him, and constantly blames other people when he murders folks, including the dead people themselves. He also spends the last third of the film with his scrotum ripped open for some reason.Nero's character is less insane but still as strange. I guess most people will be wondering why his character shaves naked in front of Mark Lester, and to be honest it is a head scratcher, but I guess the best answer is 'It was the Seventies'. Ely Galleani has a larger role than usual too, and when she is murdered by Savalas (spoilers), Nero ends up wearing her fur coat for the rest of the film. Also - check out the guy on the IMDB who is offended by the nude scene but goes into minute detail about the whole thing, while also constantly referring to actor Franco Nero as actor Fabio Testi - maybe if they spent more time looking at the actor and not the actor's arse they might have noticed that. Methinks the lady doth protest too much.Anyway - strange film, strange decade, I enjoyed it. Stimmerung!

Definitely not your typical Polizia, Redneck just never worked for me. The movie tells the story of a jewel heist gone wrong and a young boy who is inadvertently kidnapped in the process. In their attempt to get away, the robbers leave a bloody trail of death in their wake as they hatch a plan to ransom the boy. The plan is never carried off as the robbers are more intent on getting to France and the boy is intent on staying with them. While I could cite a number of problems I had with the movie, I'll focus on the most obvious – the character Memphis played by Telly Savalas. From his work in The Dirty Dozen and Kelley's Heroes to other Italian films like Crime Boss to his most remembered role as Kojak, Savalas was a winner. I've always thought of him as one uber-cool customer. Unfortunately, Savalas is almost unwatchable in Redneck. Did the director turn on the camera and instruct him to act as psychotic as possible? It might not have been too bad had his actions been done within the context of a plot I cared about, but here he seems to be acting bizarre for sake of being bizarre. It's appears to be random lunacy. And what's with that accent? Savalas might have been a lot of things, but Southern isn't one of them. He sounds completely ridiculous even attempting the accent. Beyond that, I found little of interest in the rest of the movie. As I indicated, the plot never drew me in. I just didn't care about what was going on. And the notion that the boy is so quickly attracted to the criminal lifestyle doesn't ring true. As for the other actors, Mark Lester is almost as bad as Savalas and the usually reliable Franco Nero isn't a whole lot better. Three "name" actors and not a good performance between them. To make matters worse, I believe the director filmed many of the night scenes with nothing more than the glow from his watch to light the shots. I couldn't tell what was going on. Characters I hate, a plot I don't care about, and a production values that failed – little wonder I've given Redneck a 3/10.

Blundering hoodlum Mosquito (the ever-cool Franco Nero) and his loud, volatile, obnoxious hillbilly psycho partner Memphis (an outrageously hammy Telly Savalas) botch a jewelry store heist. The incompetent duo steal a car and inadvertently kidnap proper and pampered rich lad Lennox Duncan (well played by Mark Lester of "Oliver" fame). Mosquito's meek, whiny girlfriend Maria (the lovely Ely Galleani) tags along for the ride. Naturally, Lennox falls under the evil influence of the two slimy crooks. Director Silvio Narizzano, working from an unapologetically sick and sordid script by Masolino D'Amico and Win Wells, whips up an extremely odd, harsh, and downright repulsive flick that gleefully wallows in excessively bloody and sadistic violence, shocking brutal behavior, and a truly wicked sense of grimly ironic humor. The coarse, rough, and nasty tone gets more vile and upsetting as the seamy story unfolds towards its perfectly depressing bummer ending. Savalas has an absolute field day with his gloriously unrestrained eye-rolling portrayal of the manic and unhinged Memphis: Telly mangles an overdone Southern accent, shoots a little boy dead, gets kicked right where it counts by Lennox, smokes a joint, sings, cries, kills a mangy crippled dog, and even massacres an entire family by pushing their trailer home into a lake so they can all drown. Moreover, there's a bizarre homoerotic undercurrent in the relationship between Mosquito and Lennox which adds an extra freaky edge to the already depraved proceedings. Both Giorgio Tonti's slick, agile cinematography and Maurizio Catalano's eclectic, melodic score are up to par. A satisfying serving of raw and offensive low-grade sleaze.

In the mid-1970s, my NYC apt. building was finally wired for cable-TV and since Showtime (instead of HBO) was the only premium channel offered showing recent movies, I signed up for it. Being a writer and night-owl by nature, I soon discovered the channel was showing movies late at night and until the wee hours of the morning I'd never even heard of--most of them American independent films and foreign films that had never been given a U.S. theatrical release. Many of them had recognizable "star" casts and respectable directors, and thanks to Showtime, I discovered many first-rate films I (and other Showtime subscribers) would never else have had the opportunity to see. Most of these cinematic mongrels were indeed "dogs" but often so bad they were unintentionally hilarious. One night, Showtime unveiled a little Italian-made gem called "Redneck" (filmed in 1972, given a limited European release in 1973). Even though the movie had never been released in the U.S., the MPAA rating was listed as an 'R'. Since the director was one Sylvio Narizzano (the director who made his name with the glorious "Georgy Girl"), and the three leads were Mark ("Oliver") Lester, Fabio Testi and Telly Savalas, I decided to give it a try. And found myself nailed to my TV screen in disbelief for 89 minutes. As I recall, Savalas and Testi played two criminals, the former a raging maniac who, in one stomach-churning scene, casually sent a German family to their deaths by nudging their trailer off a cliff, thereby plunging to the wilderness depths below. So far, so bad. Then, out of nowhere, Testi (as the "nice" psycho) and Lester (all of 14 when the movie was made) are seen, both nude, in a men's room, Testi sneaking peeks at the kid's body while shaving, and poor confused Lester fixated on close-ups of Testi's naked butt. As a not-yet-jaded member of the movie industry, and a card-carrying liberal (I was as much against censorship then as I am today), the entire movie made me queasy (and, being the early '70s when I thoughtI'd seen everything in the anything-goes movies of that liberated era--including the uncut version of Altman's "That Cold Day in the Park", a real jaw-dropper until it was trimmed for an 'R' rating and would have spelled The End for Altman's career had he not next come up with something called "M*A*S*H"), I still wonder if anyone else except me ever saw "Redneck" and was appalled as I was. Trashing the actors and movie-going audiences is joy maladjusted filmmakers have been merrily indulging in since the beginning of time. But leeringly exploiting a highly respected and talented child actor (Mr. Lester) at a time when he was beginning to make the difficult transaction from child to adult actor (and I'm sure his film offers had thereby dwindled to meretricious junk like "Redneck")...Mr. Narizzano, you should be hanging your head in shame. (Incidentally, I was soon to make friends with actors who had appeared in Narizzano's future, undistinguished efforts. They both despised him. Surprise?)