Year: 1975
Duration: 01:26:37
Directed by: Manuel Mur Oti
Actors: Marisa Mell, Richard Conte, Anthony Steffen
Language: English
Country: Spain | Italy
Also known as: A Diary of a Murderess, Diary of an Erotic Murderess, Perversione
Description:
When it comes to Italian crime movies, Umberto Lenzi is undoubtedly the king of the Italian Polizi sub-genre, and while this movie doesn’t rather live up to the people that went before it; Brothers Till We Die is nonetheless interesting and entertaining little film that is certain to please fans of this kind of stuff. This was the final of Lenzi’s crime collaborations with the truly amazing Tomas Milian, and it’s also the most committed use of the actor. Right here, Milian is provided the task of playing two brothers, but since this is a cheapo Italian work where unique results weren’t really affordable, the effect is generated entirely through modifying, and it has to be stated that Lenzi does a great task. The plot is somewhat routine and simply follows a familiar revenge curve. Vincenzo and Francesco are brothers; Francesco is a bum better known as “Pigsty” and Vincenzo is a hunchback whom gets known as “Humpo” (you gotta love Italians!). The plot focuses much more on Vincenzo, a desired man who “rears his hump” in purchase to commit another robbery. However, things don’t get to prepare as his accomplices decide to take him (he’s too apparent, and therefore runs a risk of getting them all caught). Vincenzo manages to drag himself into a sewer, and then proceeds to get revenge…
The film doesn’t feature the greatest script ever written (not even the greatest script ever written for a trashy Italian film!), but the ridiculous dialogue is often really funny as well as the film’s absolute disregard for political correctness when it comes to the lead character’s disfigurement is simply great. Obviously, a lot of this film’s success (or absence of) rests on the shoulders of Tomas Milian, and despite being provided an instead heavy part; he doesn’t handle to turn a great performance. His “Pigsty” character is a messy replica of the “Garbage Can” character from complimentary Hand for a Tough Cop, while the hunchback character is a lot more like Milian’s forte; but the make-up intrudes on the overall performance, and neither one comes down especially well. Nevertheless, I’d a lot rather have Tomas Milian in the part than anyone else, and he does always make the film worth watching in spite of its shortcomings. The plot moves nicely sufficient throughout and it’s generally entertaining. Lenzi has additionally seen fit to toss in a sub-plot revolving around the hunchback’s mindset towards his impairment, which seems a bit odd but works fairly well nevertheless. In general, this might be a decent enough slice of Italian police action and I’m sure most individuals that see it will enjoy it.
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