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No Way Out (1973)

Tony Arzenta (Big Guns) (original title)
A mob hitman wants to retire, but his bosses don't think that's a good idea. Complications--and many bloody shootouts-ensue.

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Writers:

(story), (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
...
Tony Arzenta
...
Nick Gusto
Carla Gravina ...
Sandra
Marc Porel ...
Domenico Maggio
...
Carré
...
Anna - wife of Tony
Guido Alberti ...
Don Mariano
Lino Troisi ...
Rocco Cutitta
Silvano Tranquilli ...
Montani - the Interpol officer
Corrado Gaipa ...
Arzenta's Father
Erika Blanc ...
The Prostitute as a decoy
Rosalba Neri ...
Cutitta's Wife
Carla Calò ...
Arzenta's Mother
...
Gesmundo - the sauna owner
Francesco Bonetti
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Storyline

A mob hitman wants to retire, but his bosses don't think that's a good idea. Complications--and many bloody shootouts-ensue.

Plot Summary | Add Synopsis

Taglines:

By mistake they killed his wife and child - THAT was a hell of a mistake!


Certificate:

R | See all certifications »
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Details

Country:

|

Language:

Release Date:

23 August 1973 (France)  »

Also Known As:

No Way Out  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Italian censorship visa # 62913 delivered on 8-8-1973. See more »

Connections

Referenced in Nitweitaget (1994) See more »

Soundtracks

Serenata in Sol maggiore, K 525 (Eine kleine Nachtmusik)
Wolfgang Amadeus Mozart (as W. Amadeus Mozart)
Orchestra da camera di Padova
Diretta da Claudio Scimone
Registrazione della DISCOS ENSAYO - Spagna
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User Reviews

 
an electrifying torrent of cinematic savvy!
24 January 2014 | by See all my reviews

'Tony Arzenta' is a truly absorbing euro-crime from expert genre director Duccio 'Puzzle' Tessari. Not too sure why this cracking yarn doesn't get mentioned in the same bated breath as 'High Crime', 'Violent Professionals', or 'Violent Rome' as it is clearly on par with them, and in some specific area's it actually usurps them. Having the ice-cool, Gallic master of understatement, Alain Delon as your vengeful hit man is a casting godsend, and as our idiosyncratic, enigmatic arbiter of righteous retribution makes it nigh on impossible to take your eyes away from his blazing a balletic trail of brutal revenge deep into the swollen underbelly of the Cosa Nostra. I readily admit that the premise of a hit man wishing to break free from their nefarious clutches is a well-thumbed conceit; but when said coda is interpreted by the likes of Delon/Tessari and propelled by a lively, infectious score from the woefully underrated, Gianni Ferrio, any hint of formula is quashed beneath an electrifying torrent of cinematic savvy.


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