La mala ordina

La mala ordina, also known as Manhunt in the City, is a polarizing classic Eurocrime movie released in 1972. This Italian crime thriller is directed by the celebrated helmsman Fernando Di Leo, who is best known for his engagement with the Poliziotteschi genre. Renowned actors Mario Adorf, Henry Silva, and Woody Strode lead the star-studded cast, bringing gravitas and intensity to the raw thrill of the storyline.

The plot unravels the cascading aftereffects produced when an ordinary man is embroiled in the dangerous underbelly of organized crime. The narrative pivots around the seemingly innocuous life of Milanese pimp, Luca Canali (Mario Adorf), whose peaceful existence shatters when he falls prey to a malignant plot. Unbeknownst to Luca, a twist of circumstance casts him as bait in a perilous underworld power struggle.

Simultaneously working on the same case, American hitmen, Dave Catania (Henry Silva) and Frank Webster (Woody Strode), find themselves in Milan with a mission to flush out a mysterious cocaine smuggler whose identity remains shrouded in secrecy. As they enter the grimy labyrinth of the city's criminal network, they cross paths with Canali.

Mario Adorf's charismatic portrayal of Canali remains one of the highlights of La mala ordina. Just an ordinary man entwined in the meshes of a vast, dark world, Canali exhibits a combination of vulnerability and conscious resolution that enhances the film’s dramatic potency.

The talented Silva and Strode, on the other hand, embody the quintessential ruthless henchmen with brutal precision and remarkable talent. Their grim demeanor, combined with their lethal force and impersonal efficiency, evokes a sense of chilling menace throughout.

The narrative’s frenetic pace, helped along by a pulsating score, plunges viewers into the grimy, underlit realities of Milan's dangerous underworld. The extensive attention to detail when representing the 1970s' social landscape, reflecting political unrest, economic struggles, and social disillusionment, renders this picture much more than a mere crime thriller, escalating it to the status of a socio-cultural commentary.

The film's off-beat narrative style, characterized by unexpected twists and turns, further enriches the viewing experience. The storytelling, while edgy and suspenseful, never forsakes character depth for cheap thrills. Instead, the impeccable screenwriting ensures that audiences remain invested in the characters while biting their nails in anticipation of the next plot twist.

La mala ordina features a mastery of craft in terms of both visuals and audio, which merged the sensibilities of European and American action thrillers. Director Fernando Di Leo is an effective storyteller, stringing together high-energy chase sequences, gritty realistic street fights, along with thoughtfully choreographed action-packed sequences. The cinematographic marvels wonderfully capture the moods and intricacies of the storyline, while the musical score by Armando Trovajoli intensifies the overall tension.

Adding to its brilliance, the script is insightful and brutally honest, rendering a stark depiction of the then-prevalent socio-political conditions and demystifying the romantic notions around the criminal underworld. This bold approach, coupled with a hard-hitting embodiment of the grim realities of crime, distinguishes La mala ordina from its peers.

In conclusion, La mala ordina is a power-packed cinematic experience, evoking the raw energy and thrill typical of the Eurocrime genre, but amplifying it with a depth of characterization and an attention to socio-political detail unusual in this genre. A must-watch for any fan of crime thrillers and Italian cinema, La mala ordina offers a cinematic ride not to be missed.