and European exploitation films and consider what’s left, the European movies are, overall, more interesting than their American counterparts. Which goes something like this: if you skim off the top and bottom 10 percent of U.S. The Tarantino stamp of approval aside, Di Leo is exhibit A in the case for European exploitation movies.
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One admirer was named Quentin Tarantino, who modeled Pulp Fiction’s three-variations-on-a-theme structure on Di Leo’s “Milieu trilogy.” In Caliber 9 (72), a low-level mob flunkie long-suspected of stealing $300,000 from a Milanese boss is newly sprung from jail and hounded by cops, punks, and the boss’s Javert-like enforcer, whose sputtering declaration of hopelessly compromised principle brings it to a conclusion worthy of Fritz Lang The Italian Connection (72) features an interracial team of hit men (Henry Silva and Woody Strode) and The Boss (73) is a bleak exercise in life-and-death gamesmanship that starts with a bang-a porno theater full of incinerated mobsters-and ends with a despairing whimper. Di Leo’s work didn’t go entirely unnoticed: he found admirers among the handful of grind-house regulars who actually went to see movies rather than cruise the men’s room, score drugs, or sweet-talk hookers grabbing a short break from pavement-pounding.
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His To Be Twenty (78), about two “young, beautiful and pissed-off” hitchhikers enjoying the dregs of hippie hedonism, is a prescient sucker punch that predates Virginie Despentes’ polemical Baise-Moi by two decades and can still stun jaded moviegoers into appalled silence.
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Mainstream American reviewers routinely ignored Fernando Di Leo’s crime movies because at the time, advance press screenings for genre movies-whether Hammer horror, spaghetti Westerns, homegrown regional exploitation, or Euro-erotica-were rare, and few critics felt compelled to brave sticky grind-house floors in search of the occasional gem in the maelstrom of junk.īut Di Leo was more than a cog in the machine of Italy’s ruthlessly au courant cinema of international appropriation: he was fiercely committed to making genre movies that addressed contemporary social and political issues.