7cb1d79195 It's the early 1930s. Working their way up the ladder largely on chutzpah, Roch Sifreddi and François Capella, who became best friends in their unlikely partnership, have risen to the top of the organized crime world in Marseilles. Shortly after reaching the top, Capella is murdered. Sifreddi eventually learns that the murder was orchestrated by international businessman Giovanni Volpone, new to Marseilles from Italy, he whose ultimate goal is to take control of the city in all aspects, legal and illegal. While Sifreddi sees Volpone's action as the start of a gangland war, Volpone has other thoughts in sending a longer lasting message to Sifreddi and others who may want to fill his shoes. Volpone has specific reasons for wanting Marseilles, it a war he will want to wage in most of the western world to reach his end goal. Standing by Sifreddi in this war is Lola, a former prostitute friend to both Sifreddi and Capella, she who was Capella's girlfriend at the time of his death, and Sifreddi and Capella's loyal and long serving head henchman, Fernand. In this battle, Sifreddi can no longer rely on the hands off approach by the police, former Commissioner Fanti, who would only intervene if the tit for tat killings got out of hand. Fanti has now been replaced by Commissioner Cazenave, who is a little out of his element in dealing with such matters. Under the circumstances, the police may have their own ideas of what they would like to happen with Sifreddi and Volpone's war, especially as Volpone views the law as only applying to poor people. Marseille. Heaps of flowers and funeral wreaths… "A man who no longer defends his colors is no longer a man." Alain Delon, already past his prime, returns to the tried-and-trusted formula of BORSALINO (1970), a fondly-remembered gangster pastiche (which I had watched some time ago, albeit dubbed, and been somewhat underwhelmed by) with a surprisingly mean-spirited but ultimately indifferent follow-up. The film is one of a staggering 9 Delon made with director Deray (the only other one I've seen is LA PISCINE [1969], which I remember liking). However, since I had purchased LE SAMOURAI (1967) while in Hollywood and recently ordered LE CERCLE ROUGE (1970), I thought I might as well give this one a try…<br/><br/>Though Delon served also as producer, he delivers a typically blank-faced performance and the film, with no new ideas in either script or direction, is tolerable mainly for its bouts of excessive, almost cartoonish violence. The international cast is reliable but their contribution is pretty ordinary on this occasion: Riccardo Cucciolla in a dual role (!) as Delon's gangleader rival and his twin; Rene' Koldehoff as Cucciolla's heavy-set chief thug; Catherine Rouvel (still looking gorgeous 15 years after swimming in the nude for Jean Renoir in LUNCH ON THE GRASS [1959]) also reprising her role from the original as a high-class prostitute and Delon's old flame, Daniel Ivernel (from Bunuel's DIARY OF A CHAMBERMAID [1964]) as the level-headed Police Commissioner, Alfredo Lastretti (from Jess Franco's VENUS IN FURS [1968]) as one of Delon's lieutenants…plus a blink-and-you'll-miss-it cameo from Anton Diffring (perhaps imposed on the film by its backers, BORSALINO AND CO. being a French/Italian/West German co-production). For those who enjoy 'the Godfather' and the Sicilian landscapes, Borsalino & Co. is a different view of French gangsterism in the South of France around the 1930's. Alain Delon plays the lead character of Roch Siffredi, a gangster who must fend his empire against the Italian mob who tries to muscle its way through Roch Siffredi's territory and enterprises. How Roch is able to fight back and make an unprecedented comeback while exacting his vengeance on the Italian mob is most original and Machiavellian. <br/><br/>Bottom line, revenge is sweet, and the movie makes great effort in recreating a 1930's decor. The background music and the theme song are particularly enjoying.
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