Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
没有边做家务，专心看完全剧。一、真实。家庭成员简单，没有那么多子女，贴近生活。情节并不复杂，却有力地呈现了人性。演员表演非常生活化，捉襟见肘的煎熬、颓丧、慌乱，逃无可逃。二、是艺术。卫生间母女为父亲解决便溺失禁后的尴尬，困境中，深夜窗帘下唐小然孤苦无助、内心的迷茫和挣扎，都细腻到位，直击观者心底。剧情不花哨，简单的情节靠的是各个演员良好的表现力。感动之余，记住了导演的名字。
好温暖好感动好想爱 新年第一天能看到这么美好的电影真是太好了♥️
其实很有且忘世梦，转头万事一场空的意味。
这是韩国版《love actually》？那确实任何片段都超越不了
感觉整体上有点像《慕伶·一鸣·伟明》，围绕着生病的父亲展开，整体的节奏和镜头运用都还可以，只是结尾收尾得略显仓促了，关于母亲对待死亡的看法交待得不够明确，最后似乎也是致敬《慕伶·一鸣·伟明》，用了超现实不断闪回的手法，其实最终想表达的还是子女对父母、父母对故土的情感羁绊。
热腾腾的火锅，苦中作乐，皆大欢喜。资本永不眠，童话永不灭。
有尊严地生存&生活
“我去过那个湖边，跟你妻子聊了很多。你妻子说啊，说你还像个小孩子一样，她离不开。所以我给你妻子提了个建议，余下的人生我带着你生活，让你长大成人，等下辈子一定把你送回去。然后你妻子给了我回复——雪，如果今年最后一天下雪就是答应我了。”原来真的会有人冒着鹅毛大雪，带着承诺向你走来。
老套无聊的群星贺岁片（怎么感觉这么像我们的特色。。。）
父亲生活不能自理，没有尊严，活着对他来说是一种折磨。父亲的病，让家人处在崩溃的边缘，但也是羁绊。
想拍《真爱至上》，结果拍成《全城热恋》，反正不用想都知道，群星荟萃+多线叙述+合家欢贺岁片，现在能好到哪儿去……故事剧本是真的很敷衍很松散，每个人的线都无任何亮点可言，线与线之间的交织也非常弱。但是郭在容的镜头质量，搭配美人+美景，拍得非常唯美，也有不少致敬当年自己《我的野蛮女友》的意思，整体看肯定是能看的，乐呵乐呵就好了，打个及格分刚刚好。
内容冗长无聊，毫无重点，角色塑造生硬，念词机器，打一分是因为没有0分，味同嚼蜡，无聊至极，堪称华语电影史上的灾难。
三条线我一条没看明白，鸡头驴尾巴，结尾在恶心谁呢，强行催泪，是不是还要留给我一个无限遐想空间啊，我想你妈了
元真儿在天桥边走边舞那段，尬得直起鸡皮疙瘩！弃剧。
见识到了开场十二分钟的长镜头，二十年弹指一挥间，导演在时间的处理上非常好。又一个人被时间改变的故事，最后的每一刀都是救赎。
影片开始的伪长镜头确实惊艳，另如评论区所说，与贾导的社会纪实风很有同感，只不过在不过的国度有不一样的境遇。
第一次体验这样的放映会。片子较优秀电影的确有些差距，缺少深度也缺少艺术性。只能说真的很真实，很真实，真实到你觉得这的确会发生在你的生活中一样，所以我的确也思考了很多。影片放完后，听导演介绍了很多，很触动我的一点是，他在创作过程中放了很多自己的情结，在我看来对他而言这像是圆梦一般。这一点我真的很羡慕了，很羡慕他能有这样表达自己的方式与机会。今年的生日愿望就是希望有机会为我似乎纷乱繁杂的世界找到一个入口以及出口，我很好奇会是什么样子。好像最近很多的事情都无意识在朝向这个方向了，以及在yx的启发下，好像我似乎有机会摸到一点点新世界的大门了，我很期待。
棒子的杂烩耐情贺岁，浪了两个多小时林允儿拢共露两面，不开心，这酒店服务也太好了，把漂亮女员工全贡献出去了，霸道总裁还自己收了一个，烂俗归烂俗，暖暖的跨年题材还是不要太苛刻了，合家欢
2022.01.01.01:01 咱就是说我现在心情好到爆炸 新的一年要充满希望谨慎行事
被林允儿和姜河那的高甜片段骗进来的，还以为是什么惊心动魄的爱情故事，好家伙整一出韩国版《真爱至上》。养眼是真的，老土也是真的，好在韩国人还是有点认知在，没把总统从修罗场里拖出来谈恋爱。
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