They quickly learn that the money in question belongs to the Italian mob, and that the three perpetrators who carried out the crime had brashly disguised themselves as police officers to successfully pull off the heist. Even before then, he shows Mattelli respect as a lieutenant, and when someone offers him a chance to steal Pope's credit, Mattelli refuses and respect's Pope's operation. It's a race to see who gets the thieves first, the Mafia hoods or Quinn and his black partner, Kotto. Pope and the violent Capt. The director, Shear, has overwhelmed the plot with crowded scenes and overlapping dialog, or else huge choker close ups of sweaty faces. The following firearms were used in the film Across 110th Street:. At the center of nearly every fictional scenario is fear — fear of corruption, of poverty, of death — that throws the entirety of New York City into absolute chaos, and divides these races, to the point that they barely see each other as human beings.
The film is overscored and the music is loud and distasteful. The ghetto had become a battleground, where even those who were assigned to keep it safe were constantly at each others' throats, totally terrified of any sort of change. And the story itself, in which just about everyone in New York, including the African-Americans in Harlem and most of the police force supposedly arraigned against them, are crooked. If Mattelli was such an asshole, would he have done that? Pope and the violent Capt. They are tracked down by crooked cop Quinn, who walks a thin line between his duties as a policeman and his obligations to the Mafia. Viewers will enjoy themselves spotting actors and actresses such as George DiCenzo, Antonio Fargas, Paul Harris, Gloria Hendry, Gilbert Lewis, Charles McGregor, Robert Sacchi, Marlene Warfield, Mel Winkler, and Burt Young. This is more than just a movie about gangsters, it's about relationship where Mattelli gradually accepts Pope as an equal.
The seventy-second entry into this unbroken backlog is the ragingly pissed Blax heist procedural, Across 110th Street. The climactic rooftop shootout between Harris, the cops, and the mob is a miracle of live-shooting geography, as one of the last-standing bandits scrambles across the tops of tenement buildings, mowing down anyone who stands in his way. Two detectives, a veteran Italian-American named Mattelli Anthony Quinn and an up and coming black, Lt. Now it's up to Mattelli and Pope to find the three men before the Mafia is able to get their revenge. The pacing is quite effective and the storytelling always interesting and compelling. Fast-paced, brutal actioner has three black hoods stealing a fortune from a Mafia-controlled Harlem numbers bank.
There's some wonderful acting in this tough and gritty film, given straightforward treatment by director Barry Shear and featuring plenty of authentic Harlem locations. Quinn is solid as the old school, bigoted veteran and Kotto is his match as the more disciplined, efficient younger man. Delivering standout performances are the raspy voiced Richard Ward as gangster Doc Johnson and Paul Benjamin as determined career criminal Jim Harris. The Captain wants to take the case for himself, but his superiors inform him that the Powers That Be need Pope in charge. Mattelli investigate the case while the Italian Mafia and the black gangsters hunt the killers down. Captain Mattelli Anthony Quinn is a 55-year old cop who knows that the new blood beneath him are looking to push this racist brute into retirement. However, they startle when the suitcase with the money falls on the floor and Jim kills the five men with a machine gun.
Three small-time criminals are on the run with the money. From the violent opening scene to the shattering climax, the pace hardly lets up. Some will be favorites, others oddities, with esoteric eccentricities thrown in for good measure. These films may contain strong profanity, graphic sexuality, nudity, strong violence, horror, gore, and strong drug use. When not lamenting the Disneyfication of our current culture, he's usually enjoying a whiskey, watching some form of disreputable trash cinema, or drunkenly perusing one of the few remaining video stores. Regardless, this film has the ability to shock as well as to enlighten entertain perhaps isn't the right word. Yaphet Kotto is effective as the more liberal cop whose pairing with Quinn makes for decidedly uneasy working relations.
Yet the rickety truce between these underworld factions must remain, lest the ensuing race war burn Harlem to the ground. A masterpiece of American cinema of the 1970s. In short, Across 110th Street is a document of discontent that ends on a note of utter hopelessness, as if knowing — nearly fifty years from now — we'd still be tearing each other apart because we not so secretly despise tribal differences. Johnson is superb and there are also great songs by Bobby Womack on the soundtrack. Black against white, with crookedness cutting across the castes like overlapping Venn diagrams. Jackson Antonio Fargas — rips off a mafia drop for a suitcase full of cash. He's never had money like this before, so the man's gonna spend it.
The tension intensifies with each step that the Mafia takes in finding the small-time thieves responsible. They flee to the runaway car driven by Henry J. Shear's film bursts at the seams with an almost singular level of resentment for the way those of different races viewed each other, while capturing the bombed out wasteland that was Harlem during the early '70s. Anthony Franciosa is less spastic than usual. Just as Mattelli knows being pushed out of his position is a near inevitability, the Mafia worry the blacks in Harlem are done sharing their turf with La Cosa Nostra. Jackson and they kill two policemen.
A trio of desperate hoods — Jim Harris Paul Benjamin , Joe Logart Ed Bernard , and Henry J. The younger, progressive generation is represented by Lt. Will Jim Harris and his accomplices be found? Mattelli is about to be steamrolled by evolution, and this throwback is ready to lie down and die. Pope Yaphet Kotto , who doesn't agree with Mattelli's violent bullying tactics when it comes to questioning mostly black suspects. It's got quite a lot of hard hitting violence, and may be uncomfortable to watch at times for some viewers. But, alas, it's undone by the direction, editing, and musical score.