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Violent City Movie Download Hd
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DOWNLOAD: http://urllio.com/r49v8
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A hitman is double-crossed by his girlfriend and barely escapes a murder attempt. He then sets out to take his revenge on the woman and the gang boss who put her up to it.
After a bloody double-cross leaves him for dead, professional hit man Jeff tracks the shooter and his beautiful mistress to New Orleans. But when Jeff takes both revenge and the woman, he finds himself blackmailed by a powerful crime boss who wants the fiercely independent gunman to join his organization. Jeff refuses, and is hunted through an unforgiving city where love is like a loaded gun and debts of vengeance are paid in bullets.
It opens with a smiling Charles Bronson at the helm of a modest yacht and a topless blond sunning herself on the deck. Bronson begins to undo her foolish bottom. Dissolve to Bronson and a girl, Jill Ireland, driving through the narrow streets of St. Thomas in a Ford Mustang, just like Steve McQueen in "Bullett" two years before, and the drive quickly evolving into a high speed pursuit, with cars screeching around sharp corners, taking leaps over the city's hills, and otherwise doing exactly what Steeve McQueen did in "Bullett" except for one shot of Bronson squealing from side to side on a cramped downhill street, which anticipates "Magnum Force," when Dirty Harry squeaked down Vermont Street in San Francisco.
Bronson drops off Ireland and continues trying to escaped but is blocked by a Porsche driven by a friend. Bronson stop his Mustang, gets out, and with a big welcoming grin, says "Coogan!", and then Coogan shoots Bronson and drives off with a willing Jill Ireland. The other villains appear and want to be sure that Bronson has shuffled off this mortal coil but Bronson outwits them and drives them off, killing one of them with the last shot from his empty Luger. No kidding, it's empty.
Bronson spends the rest of the film tracking down his betrayers -- Jill Ireland and "Coogan", who doesn't seem to be listed in the credits.
Bronson in his prime was a fine specimen with a fine frame, not muscle bound but sinewy, with startling clavicles. He sports the bandido mustache that he made famous around this time. His talent was B level but not so bad he was embarrassing. Jill Ireland is fragile and likable.
The movie takes them all over the place -- New Orleans and elsewhere -- so it's not a low-budget enterprise, but it's undone by the director's and writers' resolute determination to make this a brainless action movie. The gun shots sound tinny and carry a slight peep, as in a spaghetti Western. Ennio Morricone's music can be witty or sumptuous but here consists of variations on shrill electronic instruments. It's like listening to a musical saw. The cinematography is suitably done in lurid colors. And for reasons known only to the producers, some of the dialog is in Italian. In a Caribbean jail, three unrelated prisoners occupy a cell, and they speak Italian. A high performance care race in New Orleans is broadcast in Italian.
It's not badly directed in terms of fundamentals like camera placement and staging. There are no editorial fireworks, thank God; no instantaneous cutting, and the camera doesn't shudder with each blow, each explosion. Nice shots of bayous and mammoth live oaks festooned with Spanish moss. Interesting if brief tour of New Orleans' enflowered courtyards.
Charles Bronson at his best? In a way yes, but maybe no. I guess it all depends in what you want to see. An all out action film, moving like a speeding car (in which the opening sequence ---and what a beginning it is! --- has a beautifully staged car chase through the slender streets of the Virgin Islands) and throwing caution to the wind. Well that would be a no on that aspect. However something a little twisty within its narrative, tension building through its dramatic story developments and brooding atmospherics with a watershed performance by Bronson. I would go yes.
After a double-cross that leaves him for dead, professional hit man Jeff survives and serves some time before tracking down the culprit - an old friend and his former mistress to New Orleans. Jeff gets revenge and his lady back, but he finds himself being blackmailed by an influential crime boss Al Weber.
Bronson at this period of his career was etching out a name through European productions and "Violent City" aka "The Family" happens to be one of those better enterprises. Italian director Sergio Sollima ("The Big Gundown", "Run, Man, Run" and "Revolver") stylishly lays out the rough and ready groundwork like a fuse waiting to ignite. The slow-tempo works, due to the plots knotty structure of betrayals and double-crossings with slice of tragedy in something of a modern western vibe and these moments are either broken up by reflective instances (like splicing together flashbacks), getting reactions in a game of wits between characters or relentlessly dynamic and imaginative action sequences. Sollima's crisp cinematography frames it all with remarkable long shots and showy camera angles, as the visuals are simply stunning and the location work is brought live by its authentically flavoured New Orleans backdrop. Ennio Morricone composes the scorching music score, which is excitingly cued with its majestically saucy edge
but despite the masterful effort I thought the greatest sequences arose from the silent periods in the intensely crackling opening spectacle and climatic finale passage of the film (which was beautifully unsettling). The tight screenplay keeps it sly and cynical, but at the core behind its engagingly complicated plot mechanisms is a simple minded, but seething revenge outlook. The acting fairs-up with more of a physical, but terse performance by Bronson, which his silent and tough persona fitted right at home with. There's burning conviction by Jill Ireland with her tantalizingly devious turn and Terry Savalas is living it up as a powerful crime figure. Umberto Orsini and Michel Constantin are quite good too.
A gritty, compelling crime potboiler.
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