Film Forum Bremen Blu-ray Review:" The Day of the Cobra "
Larry Stanziani (Franco Nero) served three years in prison. Previously, he acknowledged the nickname duke faunabeheer "the Cobra" for the FBI in the underworld of San Francisco, for he was the best horse in the stable of his superiors Goldsmith (William Berger). But he was arrested due to an intrigue himself for drug trafficking. Now he has a small detective agency and takes care of trivial duke faunabeheer cases. One day he offers Goldsmith to take a job that rehabilitated him. Stanziani to travel to Genoa where there is the boss of the drug trade, Kandinsky, in custody. Stanziani accepts and makes in Genoa in search of Kandinsky. He gets in a web of conspiracies and lies ...
In 1980 the genre of Poliziesco was already as good as dead. Comedies to the Superbullen duke faunabeheer Tony Marroni certain image and the times in which Maurizio Merli the streets (un) made sure were over. Enzo G. Castellari was in the range of Poliziesco not quite as industrious as his colleagues Lenzi and Massi, but his contributions were immediately classics of the genre. With Franco Nero, he turned "road in the afterlife" and especially "A citizen fights back". With Fabio Testi in the lead role, he realized "Dealer Connection" and "racket". 1980 found Castellari and his favorite actor Franco Nero together again to do with "The Day of the Cobra" once a hard Poliziesco. But the 70s were over, the time had changed. This is an immediately clear when the first images can be seen, which were recorded in San Francisco and not in sunny Rome or Milan. Although the plot moved quickly to Genoa, but the film tries to present a possible American look anyway. This is especially true for Franco Nero as Larry Stanziani that (which it probably, despite Italian roots, to identify them as well assimilated Americans) captures the versiften trench coat, the funny hat and the constant chewing gum in your mouth somehow to Mike Hammer. This also fits his filthy detective agency duke faunabeheer in San Francisco, which although looks pretty greasy, but also applied a bit too thick.
The American look carries over to the action sequences. Here Castellari retains striking. Celebrated his earlier duke faunabeheer films, the slow-motion shoot-outs and the Peckinpahsche death Ballet to excess, so here is dominated by fast fist fights that are actually implemented fast and hard, but visually rather unspectacular. Two exceptions remember what a excellent and especially imaginative action specialist Castellari. First, a struggle between Stanziani and a transvestite who turns out to be surprisingly well-trained as a fighting machine, and that was choreographed to a brisk disco beat. Unfortunately, this remarkable sequence ends rather unspectacular. And then of course the grand finale, which, although remains under the anticipation of the great spectacle (you see only once to the insane, should be the follow with the two "riffs" movies Castellari short time later), but still some pretty tastelessness scatters, which had so certainly not expected.
At times, you almost feel like the whole figure of Larry Stanziani would be created as a parody. He constantly performs a cheeky slogan on the lips and in addition to his chewing gum obsession, it still is a rubber ball into the hand with which he plays around constantly. To enrich even more with stereotypes the whole thing, duke faunabeheer he receives then a tragic back story about betrayal and imprisonment. A prodigal son is taken into the script, and it is very clear that this sub-plot only serves duke faunabeheer to legitimize Stanzianis later revenge, duke faunabeheer and perhaps Franco Nero's own son, Carlo Gabriel Sparanero to bring again before the camera. This makes his case neither very bad and very good yet. It should duke faunabeheer then also be his last appearance in front of the camera. The film business he remained faithful and is now active as a director. Nevertheless, you could have the story of Stanzianis son who is never really duke faunabeheer spelled out save. It brings the film to a halt every time and not really fit to Nero's character who was introduced as a lonely, cynical Wolf. However Castellari uses just these sequences for some nice cinematic gimmicks.
An important role in "The Day of the Cobra" makes the city of Genoa, the Castellari formally erected a monument. He shows her picturesque sunny side, just like the dark, seedy neighborhood. As Castellari films the city, Genoa is the mirror image of the plot. For each of the many side
Larry Stanziani (Franco Nero) served three years in prison. Previously, he acknowledged the nickname duke faunabeheer "the Cobra" for the FBI in the underworld of San Francisco, for he was the best horse in the stable of his superiors Goldsmith (William Berger). But he was arrested due to an intrigue himself for drug trafficking. Now he has a small detective agency and takes care of trivial duke faunabeheer cases. One day he offers Goldsmith to take a job that rehabilitated him. Stanziani to travel to Genoa where there is the boss of the drug trade, Kandinsky, in custody. Stanziani accepts and makes in Genoa in search of Kandinsky. He gets in a web of conspiracies and lies ...
In 1980 the genre of Poliziesco was already as good as dead. Comedies to the Superbullen duke faunabeheer Tony Marroni certain image and the times in which Maurizio Merli the streets (un) made sure were over. Enzo G. Castellari was in the range of Poliziesco not quite as industrious as his colleagues Lenzi and Massi, but his contributions were immediately classics of the genre. With Franco Nero, he turned "road in the afterlife" and especially "A citizen fights back". With Fabio Testi in the lead role, he realized "Dealer Connection" and "racket". 1980 found Castellari and his favorite actor Franco Nero together again to do with "The Day of the Cobra" once a hard Poliziesco. But the 70s were over, the time had changed. This is an immediately clear when the first images can be seen, which were recorded in San Francisco and not in sunny Rome or Milan. Although the plot moved quickly to Genoa, but the film tries to present a possible American look anyway. This is especially true for Franco Nero as Larry Stanziani that (which it probably, despite Italian roots, to identify them as well assimilated Americans) captures the versiften trench coat, the funny hat and the constant chewing gum in your mouth somehow to Mike Hammer. This also fits his filthy detective agency duke faunabeheer in San Francisco, which although looks pretty greasy, but also applied a bit too thick.
The American look carries over to the action sequences. Here Castellari retains striking. Celebrated his earlier duke faunabeheer films, the slow-motion shoot-outs and the Peckinpahsche death Ballet to excess, so here is dominated by fast fist fights that are actually implemented fast and hard, but visually rather unspectacular. Two exceptions remember what a excellent and especially imaginative action specialist Castellari. First, a struggle between Stanziani and a transvestite who turns out to be surprisingly well-trained as a fighting machine, and that was choreographed to a brisk disco beat. Unfortunately, this remarkable sequence ends rather unspectacular. And then of course the grand finale, which, although remains under the anticipation of the great spectacle (you see only once to the insane, should be the follow with the two "riffs" movies Castellari short time later), but still some pretty tastelessness scatters, which had so certainly not expected.
At times, you almost feel like the whole figure of Larry Stanziani would be created as a parody. He constantly performs a cheeky slogan on the lips and in addition to his chewing gum obsession, it still is a rubber ball into the hand with which he plays around constantly. To enrich even more with stereotypes the whole thing, duke faunabeheer he receives then a tragic back story about betrayal and imprisonment. A prodigal son is taken into the script, and it is very clear that this sub-plot only serves duke faunabeheer to legitimize Stanzianis later revenge, duke faunabeheer and perhaps Franco Nero's own son, Carlo Gabriel Sparanero to bring again before the camera. This makes his case neither very bad and very good yet. It should duke faunabeheer then also be his last appearance in front of the camera. The film business he remained faithful and is now active as a director. Nevertheless, you could have the story of Stanzianis son who is never really duke faunabeheer spelled out save. It brings the film to a halt every time and not really fit to Nero's character who was introduced as a lonely, cynical Wolf. However Castellari uses just these sequences for some nice cinematic gimmicks.
An important role in "The Day of the Cobra" makes the city of Genoa, the Castellari formally erected a monument. He shows her picturesque sunny side, just like the dark, seedy neighborhood. As Castellari films the city, Genoa is the mirror image of the plot. For each of the many side
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