Dec 4, 2007 - Uploaded by dumbdistractionIn this clip from the euro-crime flick The Perfect Killer,
Quel pomeriggio maledettoThe Perfect Killer (1977) - Robert Widmark v Divas
Here's the overriding philosophy of this film, written by Santiago Moncada...
Women: they're all two-timing bitches who must be destroyed! The one "good" woman in this is a slutty looking model who is punished by getting repeatedly shot in the vagina by a particularly nasty trigger man. That'll teach her!!!!
Harry Chapman (Lee Van Cleef) is betrayed by his lover, Krista (Carmen G. Cervera), and his partner in crime while pulling a heist at a dog racing track. While in prison he is approached by a Mob associate and given a chance to get out. But the price is that he will have to work as a hit-man taking whatever assignment the Syndicate gives him. When assigned to hit one of his old prison buddies Chapman balks and lets the target go. From then on he becomes a hunted man with the ruthless Luc (Robert Widmark/Alberto Dell' Acqua) asking for the job of sanctioning the wayward Chapman. But the hunter has his own twisted pathology and Krista comes back into Chapman's life with an offer he can't refuse...
QUEL POMERIGGIO MALEDETO is an unusually nasty Eurocrime title with its own obsessive brand of misogyny on spectacular display. Written by Santiago Moncada, the outstanding Spanish screenwriter who wrote some of the most interesting Spanish lensed Eurogenre pieces of the early 1970s (CUT THROATS NINE, A BELL FROM HELL, THE CORRUPTION OF CHRIS MILLER), but this is only distinguished by its utter venom toward women, homosexuals, transvestites and anything that isn't a brutal macho man. The woman who controls Harry's emotional life is a "bitch" while his only friends seem to be a loud mouthed club owner (John Ireland) and a group of transvestites packing straight razors. When the "girls" go after Dell' Acqua he smashes and slashes their she-male faces into bloody pulp. His hit man's coiffure and mannerisms tag him as a gay blade as is the Mob boss who springs the protagonist. Van Cleef is all man, but subdued. With his graying hair and slow burns he makes being a fall guy seem dignified.
The over complicated plot involves double, triple and quadruple crosses. Frequent Spaghetti Western bandit Fernando Sancho shows up in the final act as an arms dealer who gives Chapman his one last shot at a kind of redemption. It's always good to see Sancho and this has a good supporting cast who overact in a highly enjoyable fashion. The final scene where Chapman temporarily saves himself and gets even with his hated "bitch" by performing an insanely daring hit during a boarding of an Iberian jetliner is so over-the-top that it works in a similar way as a Spaghetti Western sting (Van Cleef made this right after retiring with a 10 year series of Euro westerns under his belt).
The frenetic music by maestro Stelvio Cipriani is better than any of the scenes it helps to boost while Alejandro Ulloa's widescreen compositions always place the action in the most unexpected zone. Unfortunately this kind of kinetic displacement is destroyed when seeing it brutally cropped to 1.33:1, as I had to.
Dell' Acqua, another Eurowestern veteran (JOCO INVOCA DIO E MUORI) , is perfectly sleazy as Chapman's nemesis while Carmen G. Crevera's femme fatale lacks the erotic and emotional spark needed to make the protagonist's obsession credible. Van Cleef appears to be marking time here but his cool professionalism is admirable in this admittedly debased context. Reliable support is provided by veteran John Ireland and Dell' Acqua is a credibly psychotic menace.
My favorite alternate title for this is THE SATANIC MECHANIC.
(C) Robert Monell, 2015