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The Boss (1973)
"Il boss" (original title)

7.1
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A bomb attack in a cinema in Palermo kills all the fellows of Attardi's clan a part from Cocchi. He immediately understands that the author of the bomb attack is Daniello from Don ... See full summary »

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Cast

Cast overview, first billed only:
...
Nick Lanzetta
...
Don Corrasco
Gianni Garko ...
Commissario Torri
Antonia Santilli ...
Rina D'Aniello
Corrado Gaipa ...
Avvocato Rizzo
Marino Masé ...
Pignataro
Howard Ross ...
Melende
Claudio Nicastro ...
Don Giuseppe D'Aniello
Gianni Musy ...
Carlo Attardi
Mario Pisu ...
Onorevole Gabrielli
Vittorio Caprioli ...
Il questore
...
Cocchi
Andrea Aureli ...
Don Antonino Attardi
Pietro Ceccarelli ...
Maione
Giulio Baraghini ...
Don Corrasco Man
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Storyline

A bomb attack in a cinema in Palermo kills all the fellows of Attardi's clan a part from Cocchi. He immediately understands that the author of the bomb attack is Daniello from Don Corrasco's clan. Cocchi is determined to revenge. His actions, including the Corrasco's daughter kidnap, in a Palermo in which also the police is corrupted, will soon destroy the old equilibrium giving the way to an escalation of violence that won't save anyone. If Cocchi will survive to the mafia war he will be the new boss for sure. Written by 1felco

Plot Summary | Add Synopsis

Genres:

Action | Crime | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

1 February 1973 (Italy)  »

Also Known As:

The Boss  »

Filming Locations:


Company Credits

Production Co:

 »
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Technical Specs

Sound Mix:

(Westrex Recording System)

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Final part of Fernando Di Leo's "Milieu Trilogy" also including Caliber 9 (1972) and The Italian Connection (1972). See more »

Connections

Referenced in Il solitario (2008) See more »

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User Reviews

 
Can Henry Silva become the boss of a Sicilian crime family?
9 January 2014 | by (United States) – See all my reviews

As the title "Il Boss" accurately suggests, this picture is about being and becoming the boss of a Sicilian crime family. It is about the position of the boss with respect to politicians higher up, for whom he delivers districts and votes. It is about the police with whom he deals with exchanges of money and information. It is about how the boss recruits his gang members. It is about the element of trust and distrust that pervades his handling of all others. It is about the rivalry of others for his position, and how they hope to accomplish their ascent to the top, whether through murder, intricate planning or double crosses.

All of this elevates "Il Boss" beyond its action by placing that action in context. The presence of Henry Silva similarly brings the action to life. There are only a handful of actors with the eyes, face and demeanor that can create the kinds of characters that he does. Jack Palance is in that category, but Silva typically brings no humor to his parts and makes them more cold and deadly. He is "Johnny Cool".

Veteran Richard Conte is on hand as the boss of the family, juggling his loyalties and affections, all in the name of maintaining the organization, euphemistically called the family. There are also several other surprising characters built up, including a kidnapped nympho daughter (Antonia Santilli) of a crime lord, who manages to entice Silva; and a blowhard police captain fond of making rationalizing speeches about his own ineffectiveness and that of the police. Gianni Garko is excellent as a policeman on the take playing both sides of the street.

Silva opens the movie with an over-the-top assassination of a group of rivals in a private theater showing. This sets off a gang war. The kidnapping follows. Conte, impressed with Silva's capacities, raises his power and responsibility. In the long tradition of such stories, one cannot trust one's second in command and closest associate. Silva cannot trust his (Marino Masse).

"Il Boss" is not the kind of poliziotteschi that features car chases, holdups, and police procedurals. It is more about characters and relationships, or scheming. It is about out-thinking and out-maneuvering rivals and associates both in relationships that are tenuous and ever subject to shifting winds.


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