110th Street in New York City is the dividing line between Central Park and Harlem. In the film Across 110th Street that line becomes apparent. The film opens with two white men arriving at a brownstone in Harlem. We learn that they are mob bag men sent to collect the week's gambling receipts from two black associates. Amidst their money counting there is a knock on the doortwo black men dressed in NYPD uniforms barge their way in,gun down the four men in the room and take the $300,000 they were counting. They then shoot their way past two real policemen with the help of their getaway driver. This opening scene sets the tone of the film and it is a grim tone at that. After the robbery-murders, the scene shifts to an apartment in Central Park where the mob boss informs his son-in-law and glorified errand-boy Nick D'Salvo (Anthony Franciosa) that he is in charge of exacting revenge against the men who ripped them off. Naturally,the mob is not the only organization interested in finding the killers. With two cops dead, the NYPD are keen on finding them as well. Captain Frank Matelli (Anthony Quinn) a veteran detective well-known in Harlem, is assigned to the case. He finds out in short order that in spite of his high rank, he is ordered to report to Lieutenant Pope (Yaphet Kotto) because of the racial politics involved. Matelli, who is a racist and not above roughing up a suspect, chafes at the order, but abides it. Pope tolerates Matelli because of Matelli's informers and friends on the force who can help solve the case. As the film plays out D'Salvo and Doc Johnson the black crime boss who runs Harlem for D'Salvo's father-in-law hunt down the three men responsible for the theft and murders. At the same time, Pope and Matelli are looking for the same three men and trying to get to them before D'Salvo does. Director Barry Shear makes the most of the authentic Harlem locations in which this film is shot. It is very interesting to look back on what Harlem looked like in 1972. Most of it was not very pretty or charming. Anthony Quinn (who was one of the executive producers) brings a certain gravitas to his role as the bitter, veteran police captain. Quinn was always a very expressive and naturalistic actor and he does not disappoint in this role. Yaphet Kotto also delivers an outstanding performance in his role as the progressive Lieutenant Pope. The scenes where he and Quinn lock horns are emotionally charged and quite good. Franciosa comes close to going over the top as the vengeful Nick D'Salvo but he never quite gets there. The film features a supporting cast of faces familiar to fans of the blaxploitation genrealthough this is not a blaxploitation film. Blaxploitation films such as Black Caesar, Shaft or Sweet Sweetback's Badass Song feature black protagonists who get to "stick it to the man" and be the hero. In Across 110th Street there are no heroes. No one is the "good guy". This is a violent and relentless film. But it is realistic, very well made and worth watching for fans of the crime genre.
77 Reviews
A gritty street-smart thriller shot on authentic Harlem locations
altmanfan18 February 2008
Warning: Spoilers
Betraying The Mafia
claudio_carvalho11 October 2018
In Harlem, two Italian mobsters meet three black gangsters that work to the kingpin Doc Johnson (Richard Ward) to collect dirty money from their associates in an apartment building. Out of the blue, the smalltime thieves Jim Harris (Paul Benjamin) and Joe Logart (Ed Bernard) knock on the door disguised as police officers to steal US$ 300,000.00 from the Mafia. However, they startle when the suitcase with the money falls on the floor and Jim kills the five men with a machine gun. They flee to the runaway car driven by Henry J. Jackson (Antonio Fargas) and they kill two policemen. The idealist NYPD Lt. Pope (Yaphet Kotto) and the violent Capt. Mattelli (Anthony Quinn) investigate the case while the Italian Mafia and the black gangsters hunt the killers down. Will Jim Harris and his accomplices be found?
"Across 110th Street" is a great action-crime-Blaxploitation film from the 70´s. The realistic plot would be politically incorrect in the present days but reflects life in those years. The performances and the art direction are magnificent, with tacky, dirty and ugly locations and costumes. My vote is seven. Title (Brazil): "A Máfia Nunca Perdoa" ("The Mafia Never Forgives")
"Across 110th Street" is a great action-crime-Blaxploitation film from the 70´s. The realistic plot would be politically incorrect in the present days but reflects life in those years. The performances and the art direction are magnificent, with tacky, dirty and ugly locations and costumes. My vote is seven. Title (Brazil): "A Máfia Nunca Perdoa" ("The Mafia Never Forgives")
Gritty Violent Thriller That Deserves To Be Better Known
Theo Robertson21 December 2014
I caught this on BBC 1 one night many years ago . I forgot the title but could vividly remember a number of scenes especially a line of dialogue where two characters describe a third one having his genitals mutilated . This type of movie would be broadcast on television 30 years ago and no one would blink an eyelid but at the same time you can understand why it wouldn't be shown on network TV today . It as also a sign of the times back then that the TV broadcast had the F word overdubbed to something less offensive but the racial slurs against both black and whites remained intact . Perhaps the fact this film is consciously insensitive and hard hitting works against it ? This is a pity because it's not some " Blaxploitation " fare but more of a New Hollywood thriller at its best
The story itself is no great shakes - a couple of black dudes rip off and kill a few members of the Mafia and the black underworld and also kill a couple of uniformed cops in the process and find if not the entire world against them then at least the law enforcers and law breakers of NYC wanting to cap their ass . It's the sort of film Tarantino has been inspired by but unlike Tarantino's work this movie is devoid of post modernism and crippling self indulgence and is a relatively tightly plotted screenplay where lots of nasty things happen to lots of nasty people . There's a subplot featuring character interaction between Anthony Quinn's nasty racist white cop and Yaphet Kotto's not very nasty by the books black cop that might have been clichéd but does seem fresh and realistic , probably down to the fact the performances and writing portraying a rather amoral relationship between the two men and the wider world . And this does feel like an exceptionally amoral film that we never see nowadays more is the pity
The story itself is no great shakes - a couple of black dudes rip off and kill a few members of the Mafia and the black underworld and also kill a couple of uniformed cops in the process and find if not the entire world against them then at least the law enforcers and law breakers of NYC wanting to cap their ass . It's the sort of film Tarantino has been inspired by but unlike Tarantino's work this movie is devoid of post modernism and crippling self indulgence and is a relatively tightly plotted screenplay where lots of nasty things happen to lots of nasty people . There's a subplot featuring character interaction between Anthony Quinn's nasty racist white cop and Yaphet Kotto's not very nasty by the books black cop that might have been clichéd but does seem fresh and realistic , probably down to the fact the performances and writing portraying a rather amoral relationship between the two men and the wider world . And this does feel like an exceptionally amoral film that we never see nowadays more is the pity
Whether or not you call it blaxploitation this is one of the toughest and most powerful crime movies of the early 1970s.
Infofreak25 October 2003
Whether you regard 'Across 110th Street' as a genuine blaxploitation movie or not (I don't) there's no denying it's one of the toughest and most powerful crime movies of the early 1970s, easily as good as the better known 'Serpico' or 'Dirty Harry'. Anthony Quinn and Yaphet Kotto both give excellent performances as the NYC cops who have different approaches to trying to bring to justice some petty crooks who have ripped off the Mob. I was also impressed by Tony Franciosa who I knew from his later work in Argento's 'Tenebre'. I love that movie but always thought Franciosa was its weak point. In this movie he is one of the strengths. Paul Benjamin is also very good as one of the thieves. In fact, this movie is full of great acting, a tough and realistic script, taut direction from Barry Shear (who also made the 60s exploitation classic 'Wild In The Streets'), and a wonderful theme song from Bobby Womack, later recycled by Quentin Tarantino for 'Jackie Brown'. Highly recommended.
Central Park North
jotix10029 August 2011
Warning: Spoilers
110th Street between 5th Avenue and Central Park West marks the Northern limit of one of the most beautiful parks in any urban setting. To the North of the park begins a vast area better known as Harlem. Of course, the Harlem of today, with its gentrified parts, is a completely different area than it was in the 1970s when drugs were more prevalent and conditions were worse than today.
This story takes us to that era where two Italian mafia men come to get the money from the drug trade. Unknown to them, three black residents of Harlem have prepared a stick up to rob the proceeds from the sale of dope to the mostly black users. One of the two would be robbers, with a machine gun eliminates the two Italians and some of their local dealers. The get away involves killing a police officer on the street.
A local Harlem police, Lieutenant Pope takes charge in the investigation. The appearance of Capt. Mattelli challenges Pope about his authority. Mattelli, a dirty cop, has a lot at stake. He is being paid handsomely to look the other way by Doc Johnson, who controls a lot of the criminal element working for him.
The police get lucky when they find one of the trio who has gone into a bar flaunting his newly found money. He leads them into not only the attention of the police, but to Nick D'Salvio, the son-in-law of the mafia boss. D'Salvio wants to get to the guys that stole the money, at whatever cost. He is a man without scruples who will stop at nothing.
The two remaining robbers are a product of the poverty of the area. Out of desperation they had committed the crime, figuring they were taking the money from bandits that were enslaving the locals with the drugs they were pushing. Eventually, all the men meet their death either from D'Salvio, or the police.
One of the best examples of the blaxploitation genre, the film had values in the way director Barry Shear opened up the film by taking the action into the streets of Harlem with the dilapidated tenements, poverty, filth, and desperation. The result is a film that is exciting to watch today to get a real feeling what those mean streets looked like during a period when lawlessness reigned freely. It also serves as a social commentary about how the whites, in the case of Mattelli and the Italian mafiosi used the black population to push their deathly drugs to people that could ill afford them.
Anthony Quinn does a credible job as Mattelli. Anthony Franciosa was at his best portraying the sadist D'Salvio. Yaphet Kotto appears as Lt. Pope. There are some excellent acting from some of the supporting players like Richard Ward, Paul Benjamin, Ed Bernard and Antonio Fargas, just to name a few.
Jack Priestley took his cameras to a part of Manhattan most people never venture into, capturing in great detail the flavor of the area.
This story takes us to that era where two Italian mafia men come to get the money from the drug trade. Unknown to them, three black residents of Harlem have prepared a stick up to rob the proceeds from the sale of dope to the mostly black users. One of the two would be robbers, with a machine gun eliminates the two Italians and some of their local dealers. The get away involves killing a police officer on the street.
A local Harlem police, Lieutenant Pope takes charge in the investigation. The appearance of Capt. Mattelli challenges Pope about his authority. Mattelli, a dirty cop, has a lot at stake. He is being paid handsomely to look the other way by Doc Johnson, who controls a lot of the criminal element working for him.
The police get lucky when they find one of the trio who has gone into a bar flaunting his newly found money. He leads them into not only the attention of the police, but to Nick D'Salvio, the son-in-law of the mafia boss. D'Salvio wants to get to the guys that stole the money, at whatever cost. He is a man without scruples who will stop at nothing.
The two remaining robbers are a product of the poverty of the area. Out of desperation they had committed the crime, figuring they were taking the money from bandits that were enslaving the locals with the drugs they were pushing. Eventually, all the men meet their death either from D'Salvio, or the police.
One of the best examples of the blaxploitation genre, the film had values in the way director Barry Shear opened up the film by taking the action into the streets of Harlem with the dilapidated tenements, poverty, filth, and desperation. The result is a film that is exciting to watch today to get a real feeling what those mean streets looked like during a period when lawlessness reigned freely. It also serves as a social commentary about how the whites, in the case of Mattelli and the Italian mafiosi used the black population to push their deathly drugs to people that could ill afford them.
Anthony Quinn does a credible job as Mattelli. Anthony Franciosa was at his best portraying the sadist D'Salvio. Yaphet Kotto appears as Lt. Pope. There are some excellent acting from some of the supporting players like Richard Ward, Paul Benjamin, Ed Bernard and Antonio Fargas, just to name a few.
Jack Priestley took his cameras to a part of Manhattan most people never venture into, capturing in great detail the flavor of the area.
A Parallel Hunt
bkoganbing13 June 2006
Paul Benjamin, Ed Bernard, and Antonio Fargas disguised as policemen raid a mob numbers bank and rip it off to the tune of $300,000.00. But the getaway is pretty bloody. Five gangsters and two real policemen wind up dead.
The film is a race against time because two parallel manhunts are at work for these perpetrators. The captain of the local police precinct Anthony Quinn is under pressure to bring in these cop killers. It's not clear whether Quinn's connection to the local black gangster crew who run the operation for the mafia is going to help or hinder his investigation.
In the meantime the local Don has sent his son-in-law Anthony Franciosa to head his own manhunt for the robbers. Of course they have sources that the cops don't have.
Of course the methods aren't too much different. Miranda warnings were a new thing at the time and Quinn is an old timer who really doesn't believe in them. The way Quinn and Franciosa interrogate doesn't leave too much room for difference, except that Quinn's subjects were still breathing after it was over.
This film probably has more bad people in it than any other that came along until Goodfellas came out. Yaphett Kotto as a cop sent from headquarters to monitor the situation is probably the only decent one among the principal players.
The best performances in the film are by Tony Franciosa who is never bad in anything and Richard Ward who may work for the Italian mob, but is by no means a lackey. He's determined to wind up a winner no matter what happens to Quinn and Franciosa.
It's a gritty look at the seamy side of law enforcement and its also gangsters without the Godfather glamor.
The film is a race against time because two parallel manhunts are at work for these perpetrators. The captain of the local police precinct Anthony Quinn is under pressure to bring in these cop killers. It's not clear whether Quinn's connection to the local black gangster crew who run the operation for the mafia is going to help or hinder his investigation.
In the meantime the local Don has sent his son-in-law Anthony Franciosa to head his own manhunt for the robbers. Of course they have sources that the cops don't have.
Of course the methods aren't too much different. Miranda warnings were a new thing at the time and Quinn is an old timer who really doesn't believe in them. The way Quinn and Franciosa interrogate doesn't leave too much room for difference, except that Quinn's subjects were still breathing after it was over.
This film probably has more bad people in it than any other that came along until Goodfellas came out. Yaphett Kotto as a cop sent from headquarters to monitor the situation is probably the only decent one among the principal players.
The best performances in the film are by Tony Franciosa who is never bad in anything and Richard Ward who may work for the Italian mob, but is by no means a lackey. He's determined to wind up a winner no matter what happens to Quinn and Franciosa.
It's a gritty look at the seamy side of law enforcement and its also gangsters without the Godfather glamor.
Grim,Brutal,but Compelling Crime Drama
BJJManchester24 September 2010
Warning: Spoilers
ACROSS 110th STREET is remembered more nowadays for it's title track which was used in Tarantino's Blaxploitation homage JACKIE BROWN in 1997 (though the version used in the eponymous film is markedly different).This is somewhat a disservice to the original as it is in many ways a top notch example of it's kind (but not without flaws).
Three black petty thieves (two disguised as cops) stumble across a mafia/Harlem gang deal worth hundreds of thousands of dollars,though the opportunist raid goes disastrously wrong,with it's main protagonist Jim Harris (Paul Benjamin) mowing down five gangsters and one policeman,with another later dying from his injuries.As well as being pursued by the mob,the police are also hot on the raiders' trail,with a veteran Italian-American Captain (Anthony Quinn) at odds with a young, articulate,liberal,well educated black Lieutenant (Yaphet Kotto).
Scarcely anyone comes off sympathetically in ACROSS 110th STREET.Harlem itself is shown in its grittiest,dirtiest,most squalid glory,all seedy apartment blocks,junk infested alleys,seedy nightclubs and bars,and dreary,ugly functional business and police buildings,with it's cynical,brutalised,racist,downtrodden,often sadistic characters on opposite sides of the law.Underrated director Barry Shear brilliantly captures such an unrelenting milieu in often cramped,claustrophobic surroundings,with hand held cameras and what seems merely natural light. It's violence is never glamorised,being savage and chaotic with horrific consequences for it's victims with zero hopes for redemption or happiness.The performances are uniformly good,with a decent script providing insight for deeper than usual characterisations in films of this sort,with Anthony Franciosa, Kotto and even Quinn (thankfully avoiding his Zorba-style tendencies here) giving honest,realistic portrayals.As the small-time crook turned mass killer,Paul Benjamin incredibly manages to make such a character as disreputable as this oddly sympathetic (Kotto is just about the only other character on show with any redeeming features), with a powerful speech which all too readily describes the plight of many uneducated,disabled blacks in areas like this in the US.And Antonio Fargas is a long way from the wisecracking,jive-talking,affable stool pigeon Huggy Bear that he would memorably portray in STARSKY AND HUTCH a few years later on TV,as one of the doomed raiders who is sadistically tortured and murdered by the vicious psychopathic hit-man Franciosa.
For all it's praiseworthy qualities though,ACROSS 100th STREET is a film that is to be respected and appreciated,but not liked.It's tone is admirably realistic (along with authentic Harlem locations),but utterly humourless and often repellent because of this.The relentless tension from virtually the first shot is superbly marshaled by Shear, though this often sits uneasily with the equally uncompromising atmosphere of despair and pessimism,which reduces the entertainment value and a feeling of disappointment by the film's conclusion,which predictably ends on a downbeat note,though it thankfully never lurches into outright melodrama.
Nevertheless despite it's flaws,ACROSS 110th STREET is an undervalued urban thriller of the early 70's which deserves reappraisal,and is much more than mere Blaxsploitation fodder,being more thoughtful,socially aware and better written than most subjects of said genre,in the midst of it's often harrowing and unrelenting violence.
RATING:7 and a half out of 10.
Three black petty thieves (two disguised as cops) stumble across a mafia/Harlem gang deal worth hundreds of thousands of dollars,though the opportunist raid goes disastrously wrong,with it's main protagonist Jim Harris (Paul Benjamin) mowing down five gangsters and one policeman,with another later dying from his injuries.As well as being pursued by the mob,the police are also hot on the raiders' trail,with a veteran Italian-American Captain (Anthony Quinn) at odds with a young, articulate,liberal,well educated black Lieutenant (Yaphet Kotto).
Scarcely anyone comes off sympathetically in ACROSS 110th STREET.Harlem itself is shown in its grittiest,dirtiest,most squalid glory,all seedy apartment blocks,junk infested alleys,seedy nightclubs and bars,and dreary,ugly functional business and police buildings,with it's cynical,brutalised,racist,downtrodden,often sadistic characters on opposite sides of the law.Underrated director Barry Shear brilliantly captures such an unrelenting milieu in often cramped,claustrophobic surroundings,with hand held cameras and what seems merely natural light. It's violence is never glamorised,being savage and chaotic with horrific consequences for it's victims with zero hopes for redemption or happiness.The performances are uniformly good,with a decent script providing insight for deeper than usual characterisations in films of this sort,with Anthony Franciosa, Kotto and even Quinn (thankfully avoiding his Zorba-style tendencies here) giving honest,realistic portrayals.As the small-time crook turned mass killer,Paul Benjamin incredibly manages to make such a character as disreputable as this oddly sympathetic (Kotto is just about the only other character on show with any redeeming features), with a powerful speech which all too readily describes the plight of many uneducated,disabled blacks in areas like this in the US.And Antonio Fargas is a long way from the wisecracking,jive-talking,affable stool pigeon Huggy Bear that he would memorably portray in STARSKY AND HUTCH a few years later on TV,as one of the doomed raiders who is sadistically tortured and murdered by the vicious psychopathic hit-man Franciosa.
For all it's praiseworthy qualities though,ACROSS 100th STREET is a film that is to be respected and appreciated,but not liked.It's tone is admirably realistic (along with authentic Harlem locations),but utterly humourless and often repellent because of this.The relentless tension from virtually the first shot is superbly marshaled by Shear, though this often sits uneasily with the equally uncompromising atmosphere of despair and pessimism,which reduces the entertainment value and a feeling of disappointment by the film's conclusion,which predictably ends on a downbeat note,though it thankfully never lurches into outright melodrama.
Nevertheless despite it's flaws,ACROSS 110th STREET is an undervalued urban thriller of the early 70's which deserves reappraisal,and is much more than mere Blaxsploitation fodder,being more thoughtful,socially aware and better written than most subjects of said genre,in the midst of it's often harrowing and unrelenting violence.
RATING:7 and a half out of 10.
Harlem at its most Hellish ...
Coventry9 April 2009
Unlike in most reviews there are to find on "Across 110th Street", I will try not to participate in the debate about whether or not the film classifies as a genuine Blaxploitation effort. I will, however, elaborate as much as I can on all the things that "Across 110th" does represent
and that is quite a lot! This is a bona fide gritty, vile, uncompromising and unceasingly violent action-thriller from the glorious early 70's. It's a hardcore-to-the-bone tale of corruptness and survival with solid acting performances and a tight screenplay, yet without pushy morality lessons or unnecessary sentimental interludes. "Across 110th Street" is arguably the best Blacks Vs Italians thriller ever made, and this intervened with a strong story about two completely unmatchable cops that are forced to work together results in an unimaginably powerful and unforgettable movie; albeit one that only can be enjoyed by people with strong stomachs and nerves of steel as the bloodshed is relentless and the level of suspense is unremitting. Petty thief Jim Harris and his two accomplices decide to steal a large sum of money from the Italian Mafiosi that are running the show in Harlem. The heist goes terribly wrong, though, and Harris kills no less than five gangsters and two police officers. The Italians send their most lethal psychopath to Harlem and the black gangster community organizes their own manhunt as well. Meanwhile the police force deals with internal racial issues. The aging and corrupt but veteran Captain Mattelli is forced to hand over the investigation to Lieutenant Pope, who's fresh out of university and still full of ideals. This is one of the grittiest and frighteningly realistic depictions of the crime-infested New York City district during the early 70's. There are hardly any amiable characters in the entire film, the ambiance is constantly on the verge of depressing and the downbeat ending comes a massive slap in the face. The racial tension between the "main" police officer characters is always present and noticeable, yet moral values and speeches are never shoved down the viewers' throats. The performances are incredible, particularly Anthony Franciosa as the crazed mafia killer and Paul Benjamin as the small thief turned murderer. But the utmost respect is for Anthony Quinn, for courageously illustrating a dismal and raw cop-character with his status in Hollywood. The soul soundtrack is amazing and the actual Harlem filming locations make the film all the more authentic. Barry Shear's direction is surefooted and tight, and I can't believe I haven't checked out some of his other work yet. I still have a copy of "The Todd Killings" lying around, so I hope it's as masterful as this film!
Tough, noisy, incoherent police melodrama...
Nazi_Fighter_David11 January 2009
Disguised as cops, three black crooks steal a big amount of cash after killing five syndicate runners and two policemen
The New York police and the Mafia react with immediate concern
Tough police veteran Captain Frank Mattelli (Quinn) resents the intrusion of Lieutenant Pope (Kotto), a black detective, in the case, while Mafia boss Don Gennaro (Frank Mascetta) sends his paranoid son-in-law, Nick D'Salvio (Anthony Franciosa), to reassert control over the Harlem branch and see that the money is recovered
The black syndicate, headed by Doc Johnson (Richard Ward) and his assistant Shevvy (Gilbert Lewis), rejects D'Salvio, while promising only token help, and accuses Mattelli, who has been on the take from Johnson for years
Anthony Quinn plays well the ageing detective who has long ago perceived that all his efforts are not going to do more than raise the very small part of the cover of crime, but he is not above taking a bribe from a racketeer His method of dealing with a reluctant witness is to hit hard first and ask questions later The rigorously legal approach to police work, as exemplified by Yaphet Kotto, is not for Quinn This is his territory, his little kingdom, and he keeps the peace as best he knows
Tough police veteran Captain Frank Mattelli (Quinn) resents the intrusion of Lieutenant Pope (Kotto), a black detective, in the case, while Mafia boss Don Gennaro (Frank Mascetta) sends his paranoid son-in-law, Nick D'Salvio (Anthony Franciosa), to reassert control over the Harlem branch and see that the money is recovered
The black syndicate, headed by Doc Johnson (Richard Ward) and his assistant Shevvy (Gilbert Lewis), rejects D'Salvio, while promising only token help, and accuses Mattelli, who has been on the take from Johnson for years
Anthony Quinn plays well the ageing detective who has long ago perceived that all his efforts are not going to do more than raise the very small part of the cover of crime, but he is not above taking a bribe from a racketeer His method of dealing with a reluctant witness is to hit hard first and ask questions later The rigorously legal approach to police work, as exemplified by Yaphet Kotto, is not for Quinn This is his territory, his little kingdom, and he keeps the peace as best he knows
Sorely neglected classic!
brianwarner-530-22659627 July 2013
Criminally underrated 70's crime pic.....fully equal to Dirty Harry & The French Connection, but virtually unheard of at least here in the UK- I IMPLORE fans of hardboiled urban thrillers to check this out, you won't be disappointed! 3 black hoods rob $300,000 from the mafia, killing 2 cops and some mobsters in the process. The mob send in Nick D'salvio, a paranoid sadist married to the bosses daughter & desperate to prove himself worthy to his formidable father in law. The two senior policemen on the case are like chalk and cheese- Capt. Martelli is 55 & a corrupt, hardened, cynical veteran of the streets whose time is clearly drawing to a close. Wheras Lt. Pope is a young black detective- ambitious but fundamentally honest & by the book, and therefore appalled by Martelli's violent and sometimes illegal methods. What raises this film above the norm isn't the rather generic plot. The performances are uniformly excellent- but it's really the writing and directing that elevate this film to greatness.....Martelli and Pope (played by Anthony Quinn and Yaphet Kotto respectively) don't become "buddies" like Riggs and Mortaugh in Lethal Weapon, the simmering tension & mistrust between them remains- as it would in real life. The 3 robbers, whilst never glamourised (only one is shown as having any kind of real conscience, and their leader is dangerously & unpredictably violent), are far from cardboard cut out bad guys- they're all three dimensional characters, a realistic mix of good and bad, with understandable motives. The psychopathic D'Salvio on the other hand is a truly nasty piece of work with no redeeming features, but even he is intriguingly multi-layerd- particularly in his dealings with the positively Machiavellian boss of the Harlem crime syndicate Doc Johnson, in his own way the most ruthless and streetwise character in the movie.....On paper D'Salvio is the senior mobster, and so should have the upper hand, but Johnson expertly plays on his insecurities to gain the upper hand in a masterfully played scene. Perhaps the most surprising thing about the film is how well it has aged- made over 40 years ago it still holds up well today. Also the level of violence is very strong, even when compared to the many other tough thrillers of the time, but it's never gratuitous- like The French Connection, this is a film about the seamy side of life in New York's ghetto, and director Barry Shear captures the mood and texture of grim n gritty 70's Harlem in a way few have managed. A must see for those who like their thrillers edgy, realistic and uncompromising!
'110th' still hard-hitting, still under-appreciated
paul_johnr25 June 2007
Warning: Spoilers
Remembered as one of the earliest television directors, Barry Shear made occasional visits to the motion picture industry and created a handful of serviceable films dating from 1968. Of this small group, the urban crime drama 'Across 110th Street' will probably remain his best-known, although it seems destined for eternal life in obscurity.
'Across 110th Street' was released on the advent of blaxploitation films and other urban Black dramas, making it cutting edge for its time. However, this nasty, unremitting tale of ghetto life has little of the veneer and stylization that have made other 1970s titles like 'Shaft' and 'Truck Turner' endure in the American conscience. 'Across 110th Street,' for all of its violence and anger, is understated and keeps glamor completely out of the loop.
Borrowing from a novel by Wally Ferris, 'Across 110th Street' is centered on three Harlem men who are desperate to escape their poor backgrounds: ex-convict and apartment super Jim Harris (Paul Benjamin), dry cleaner Joe Logart (Ed Bernard), and playboy Henry Jackson (Antonio Fargas). The three friends barge into a mafia cash count with Harris and Logart disguised as police officers and Jackson driving their getaway car. They speed off with $300,000, leaving behind seven dead men, including two cops.
Harris, Logart, and Jackson spend their time hiding from an investigation by older, White detective Mattelli (Anthony Quinn) and young, Black lieutenant Pope (Yaphet Kotto) while avoiding Black mobster Doc Johnson (Richard Ward) and Italian mafioso Nick D'Salvio (Anthony Franciosa), who are looking to recover their stake. The hunt for these three men becomes a race between two factions, the police and organized crime, with racial tensions being set off along the way.
Unlike better-known blaxploitation films that combine social problems with heroic acts, 'Across 110th Street' uses a completely naturalistic setting, where everyone from citizens to cops are looking merely to stay alive; mob men drive fear into innocent people, cops take kickbacks from drug and gambling rings, and those raised in poverty go to unthinkable extremes for a few extra dollars. The entire atmosphere of '110th' is grim, unsettling, and unremitting, with no one immune from the sickness of modern life.
Barry Shear's direction is strong, bringing out excellent performances by Quinn, Kotto, Benjamin, and the supporting cast. While Shear's style of direction is not very imaginative, he makes use of tight surroundings to create the hot, claustrophobic aura that 'Across 110th Street' needs. Most of the film is shot in confined locations, such as tenements, small businesses, and police precincts, which Shear uses to magnify the friction between each character.
The film (co-produced by Shear, Quinn, and three others) seems to have been made on a limited budget, as indicated by its below-average technical work. The photography by Jack Priestley is quite good, but there are off-moments involving out-of-sync dialogue and poor Foley effects. This in no way spoils the film's impact, but the overall quality is somewhat pulled down. The score by J.J. Johnson (with solos by Bobby Womack) does hold up nicely, always with a feel of menace.
Even with Black dramas from the 1970s being rediscovered, 'Across 110th Street' seems to lag considerably behind other titles. Quentin Tarentino's borrowing of the title song for use in 'Jackie Brown' has helped to give the film some new exposure, perhaps enough to bring a modern-day reevaluation. But for now, '110th' holds its place as a forgotten landmark of Black film-making, still entertaining a limited audience.
'Across 110th Street' has been given a (surprise!) mediocre release by MGM Home Video as part of its Soul Cinema collection. The film is presented in widescreen with Dolby enhancement of the original mono track; Spanish and French 'dubbing' are offered besides three-language subtitles. The film's print is in good condition with some visible artifacts and occasional grain. The audio is poorly balanced, however, with dialogue often muffled by adjacent noise. It seems that the film has been repaired to an extent, but MGM didn't go far enough to make 'Across 110th Street' the pristine film it could be. And once again, Dolby enhancement serves as a handicap, not an improvement, to pre-stereo films. The theatrical trailer, also in fair shape, is offered as an extra.
*** out of 4
Roving Reviewer - www.geocities.com/paul_johnr
'Across 110th Street' was released on the advent of blaxploitation films and other urban Black dramas, making it cutting edge for its time. However, this nasty, unremitting tale of ghetto life has little of the veneer and stylization that have made other 1970s titles like 'Shaft' and 'Truck Turner' endure in the American conscience. 'Across 110th Street,' for all of its violence and anger, is understated and keeps glamor completely out of the loop.
Borrowing from a novel by Wally Ferris, 'Across 110th Street' is centered on three Harlem men who are desperate to escape their poor backgrounds: ex-convict and apartment super Jim Harris (Paul Benjamin), dry cleaner Joe Logart (Ed Bernard), and playboy Henry Jackson (Antonio Fargas). The three friends barge into a mafia cash count with Harris and Logart disguised as police officers and Jackson driving their getaway car. They speed off with $300,000, leaving behind seven dead men, including two cops.
Harris, Logart, and Jackson spend their time hiding from an investigation by older, White detective Mattelli (Anthony Quinn) and young, Black lieutenant Pope (Yaphet Kotto) while avoiding Black mobster Doc Johnson (Richard Ward) and Italian mafioso Nick D'Salvio (Anthony Franciosa), who are looking to recover their stake. The hunt for these three men becomes a race between two factions, the police and organized crime, with racial tensions being set off along the way.
Unlike better-known blaxploitation films that combine social problems with heroic acts, 'Across 110th Street' uses a completely naturalistic setting, where everyone from citizens to cops are looking merely to stay alive; mob men drive fear into innocent people, cops take kickbacks from drug and gambling rings, and those raised in poverty go to unthinkable extremes for a few extra dollars. The entire atmosphere of '110th' is grim, unsettling, and unremitting, with no one immune from the sickness of modern life.
Barry Shear's direction is strong, bringing out excellent performances by Quinn, Kotto, Benjamin, and the supporting cast. While Shear's style of direction is not very imaginative, he makes use of tight surroundings to create the hot, claustrophobic aura that 'Across 110th Street' needs. Most of the film is shot in confined locations, such as tenements, small businesses, and police precincts, which Shear uses to magnify the friction between each character.
The film (co-produced by Shear, Quinn, and three others) seems to have been made on a limited budget, as indicated by its below-average technical work. The photography by Jack Priestley is quite good, but there are off-moments involving out-of-sync dialogue and poor Foley effects. This in no way spoils the film's impact, but the overall quality is somewhat pulled down. The score by J.J. Johnson (with solos by Bobby Womack) does hold up nicely, always with a feel of menace.
Even with Black dramas from the 1970s being rediscovered, 'Across 110th Street' seems to lag considerably behind other titles. Quentin Tarentino's borrowing of the title song for use in 'Jackie Brown' has helped to give the film some new exposure, perhaps enough to bring a modern-day reevaluation. But for now, '110th' holds its place as a forgotten landmark of Black film-making, still entertaining a limited audience.
'Across 110th Street' has been given a (surprise!) mediocre release by MGM Home Video as part of its Soul Cinema collection. The film is presented in widescreen with Dolby enhancement of the original mono track; Spanish and French 'dubbing' are offered besides three-language subtitles. The film's print is in good condition with some visible artifacts and occasional grain. The audio is poorly balanced, however, with dialogue often muffled by adjacent noise. It seems that the film has been repaired to an extent, but MGM didn't go far enough to make 'Across 110th Street' the pristine film it could be. And once again, Dolby enhancement serves as a handicap, not an improvement, to pre-stereo films. The theatrical trailer, also in fair shape, is offered as an extra.
*** out of 4
Roving Reviewer - www.geocities.com/paul_johnr
What's the frequency Kenneth?
film-critic3 August 2008
"Across 110th Street" was more than just a cliché (yet it was full of them), it was deep and developed (yet had a simplistic story about cops and criminals), it was gritty and honest (yet overly-so enough to make you gasp, not laugh), and it was pure, uncut, cinematic genius from beginning to the wildly unseen ending. There were plenty of pitfalls for "Across 110th Street" to fall into, but it continually saved itself by being genuine and dark throughout. While the editing, albeit pure 70s cinema, was completely tangent, the film itself demonstrated the raw force of truth, giving us a rare (yet fictional) story of the changing of the guard in Harlem, the truth of its streets, and the minds of its criminals.
Sounding like a scene right out of "Dead Presidents", our story begins with three African Americans stealing money from the mob, only to transform the simple robbery into a battleground, equipped with machine gun fire and plenty of cops caught in the line of fire. Needless to say, both sides the Italian mob who currently has a strong hold on the crime in Harlem as well as both the upcoming African American police Lieutenant (played by Yaphet Kotto) and the decaying corrupt Captain (played by Anthony Quinn) are ready to do whatever it takes to bring these men to justice. Our plot device suddenly becomes a ticking clock, with our minds in constant question as to who is going to get to the finish line first. What keeps this cliché device from sounding stale is director Barry Shear's ability to take us through each of the three story lines with nobody eating from the sweet cake of victory at any given time. "Across 110th Street" is not a comfortable story. The characters are flawed, the imagery is sandpaper rough, and the language is honest. Shear has made this film during a time where corruption is used to represent the mindset of the community. Harlem is not shown in a productive light, but then neither is the police nor the mob. What makes "Across 110th Street" feel like a science experiment is that you see the decay of the community implode systematically. From the simple thugs who begin the robbery, to the Italian mob who is just as brutal but with better suits, all the way to the police who use the same tactics, but are protected (supposedly) by a badge, this film explores the explosion of corruption in a bold new way that eliminates cliché, yet builds on honesty.
Shear's ability to build the story into the camera's frame is only the stepping stone of this film. The unrelenting ending could only have occurred with the power of the actors in front of the camera. Their work is simple, at times one could even call it amateurish, but Quinn and Kotto do a phenomenal job of keeping the story, and their characters, grounded at all times. Their beats could have been tightened, but their flaws build upon the chaos of this story. Their facial expressions alone are worth their weight in gold, especially Quinn's ending glare. As Quinn and Kotto were our leads for this film, what stands out is how similar they are to their flawed mobsters and criminals. With our lead mobsters racism coupled with our medial issues of our criminals, we see a blend between them all. While they are all different characters, Shear brings them all together with small similarities. For someone jumping into the middle of this film, one would have trouble guessing who were the "real" bad guys, the guys with the guns or the guys with the badges. That is the next layer of "Across 110th Street" that could be used in any film studies class across the nation. Not just the visuals of a time filled with racial disgust, but also the fact that the racial divide wasn't in just black and white. Harlem owns the police, yet they are there to uphold the law while perhaps not exactly like that in Harlem today one can see this happening throughout the world in modern society.
Finally, one cannot end a review of "Across 110th Street" without mentioning the music which was icing on the hypothetical cake. To me, the sounds captured the era, the chaos of the music coupled well with the violence happening on screen. The two blended perfectly together, giving us not just a taste of an explosive Harlem, but also the sounds that may have accompanied it. As a child of the 80s, I never was witness to this so to see it (albeit in a form of fiction) only helped to heighten the awareness of this era in NYC.
Overall, "Across 110th Street" was a violent, loud, and turbulent film that was laced with clichés that were forgotten by the next scene. One could easily watch this film on late-night television and never quite see the power behind Shear's camera, or Quinn's acting ability (that final scene still haunts me), or the challenging music that accompanied our visuals, but watching it on a bright and sunny Saturday, the excellence of this film comes full force. The acting was at a perfect pitch for this film, the corruption that Shear demonstrates from across three spectrums adds a level of honesty to a film that could have easily been lost by another director. "Across 110th Street" reminded me of early Scorsese work, the raw grittiness of the city, a city that Shear loved (he filmed in Harlem), coupled with the powerful imagery took me to "Mean Streets" and "Goodfellas", but not "The Departed". This is a cannon of a film, one that should be watched and retained for the sheer honesty of the work, while it is fiction it holds a bit of truth to the turbulence of the world.
Grade: ***** out of *****
Sounding like a scene right out of "Dead Presidents", our story begins with three African Americans stealing money from the mob, only to transform the simple robbery into a battleground, equipped with machine gun fire and plenty of cops caught in the line of fire. Needless to say, both sides the Italian mob who currently has a strong hold on the crime in Harlem as well as both the upcoming African American police Lieutenant (played by Yaphet Kotto) and the decaying corrupt Captain (played by Anthony Quinn) are ready to do whatever it takes to bring these men to justice. Our plot device suddenly becomes a ticking clock, with our minds in constant question as to who is going to get to the finish line first. What keeps this cliché device from sounding stale is director Barry Shear's ability to take us through each of the three story lines with nobody eating from the sweet cake of victory at any given time. "Across 110th Street" is not a comfortable story. The characters are flawed, the imagery is sandpaper rough, and the language is honest. Shear has made this film during a time where corruption is used to represent the mindset of the community. Harlem is not shown in a productive light, but then neither is the police nor the mob. What makes "Across 110th Street" feel like a science experiment is that you see the decay of the community implode systematically. From the simple thugs who begin the robbery, to the Italian mob who is just as brutal but with better suits, all the way to the police who use the same tactics, but are protected (supposedly) by a badge, this film explores the explosion of corruption in a bold new way that eliminates cliché, yet builds on honesty.
Shear's ability to build the story into the camera's frame is only the stepping stone of this film. The unrelenting ending could only have occurred with the power of the actors in front of the camera. Their work is simple, at times one could even call it amateurish, but Quinn and Kotto do a phenomenal job of keeping the story, and their characters, grounded at all times. Their beats could have been tightened, but their flaws build upon the chaos of this story. Their facial expressions alone are worth their weight in gold, especially Quinn's ending glare. As Quinn and Kotto were our leads for this film, what stands out is how similar they are to their flawed mobsters and criminals. With our lead mobsters racism coupled with our medial issues of our criminals, we see a blend between them all. While they are all different characters, Shear brings them all together with small similarities. For someone jumping into the middle of this film, one would have trouble guessing who were the "real" bad guys, the guys with the guns or the guys with the badges. That is the next layer of "Across 110th Street" that could be used in any film studies class across the nation. Not just the visuals of a time filled with racial disgust, but also the fact that the racial divide wasn't in just black and white. Harlem owns the police, yet they are there to uphold the law while perhaps not exactly like that in Harlem today one can see this happening throughout the world in modern society.
Finally, one cannot end a review of "Across 110th Street" without mentioning the music which was icing on the hypothetical cake. To me, the sounds captured the era, the chaos of the music coupled well with the violence happening on screen. The two blended perfectly together, giving us not just a taste of an explosive Harlem, but also the sounds that may have accompanied it. As a child of the 80s, I never was witness to this so to see it (albeit in a form of fiction) only helped to heighten the awareness of this era in NYC.
Overall, "Across 110th Street" was a violent, loud, and turbulent film that was laced with clichés that were forgotten by the next scene. One could easily watch this film on late-night television and never quite see the power behind Shear's camera, or Quinn's acting ability (that final scene still haunts me), or the challenging music that accompanied our visuals, but watching it on a bright and sunny Saturday, the excellence of this film comes full force. The acting was at a perfect pitch for this film, the corruption that Shear demonstrates from across three spectrums adds a level of honesty to a film that could have easily been lost by another director. "Across 110th Street" reminded me of early Scorsese work, the raw grittiness of the city, a city that Shear loved (he filmed in Harlem), coupled with the powerful imagery took me to "Mean Streets" and "Goodfellas", but not "The Departed". This is a cannon of a film, one that should be watched and retained for the sheer honesty of the work, while it is fiction it holds a bit of truth to the turbulence of the world.
Grade: ***** out of *****
Bloody cop show, dated in some aspects but still worthwhile for its damning view of gangland society.
barnabyrudge31 August 2005
The significance of 110th Street in New York is that it is the line where Central Park ends and Harlem begins. This ultra-violent '70s cop thriller wastes no time in painting the streets of Harlem as a hard, gritty, unforgiving pit where the law has little meaning and the only way to earn respect is by fear or money. While the years have slightly diminished the film's power to startle, there's still no denying that for its time this is indeed a strong, raw, bleak piece of cinema.
Three down-at-heel blacks - Jim Harris (Paul Benjamin), Joe Logart (Ed Bernard) and Henry J. Jackson (Antonio Fargas) - disguise themselves as cops and storm into a Mafia-controlled numbers bank where they proceed to steal $300,000. However, the heist turns violent and the three robbers end up killing everyone in the room, including a few Mob guys, several blacks, and even a couple of real cops who happen by. The Mob send in a small-time hood with big-time ambitions, the violent and trigger-happy Nick D'Salvio (Antony Franciosa), to find the three crooks. Meanwhile, Harlem gang lord Doc Johnson (Richard Ward) puts his own guys on the trail of the trio of robbers. Caught up in the hunt too are cops Frank Mattelli (Anthony Quinn) and Det-Lt. Pope (Yaphet Kotto), the former an aging hard-nut who uses violence and intimidation to get results, the latter a young and honest black officer who prefers diplomacy wherever possible.
Rarely has New York been portrayed as such a living hell, certainly for those living in poverty and squalor. Initially, the viewer is repulsed by the three robbers for what they've done, but quickly they are made to look positively sympathetic as the truly repulsive supporting characters are introduced - Franciosa, chillingly psychopathic; Ward, ruthless and manipulative; and Quinn, totally lost in corruption and aggression. Only Kotto's character shows any grain of decency and optimism in this ugly society. Viewed nowadays, the film has a slightly dated feel to it which lessens the relevance of some of the social comment being explored. Quinn and Kotto don't get enough time on-screen either, which is a shame as their volatile working-relationship isn't explored as much as it could be and the twist ending lacks impact because their characters haven't been sufficiently developed. However, Across 110th Street still deserves to be seen for its ground-breaking violence, its hard-boiled action, and its relentlessly damning views of New York's ethnic wasteland in the early '70s.
Three down-at-heel blacks - Jim Harris (Paul Benjamin), Joe Logart (Ed Bernard) and Henry J. Jackson (Antonio Fargas) - disguise themselves as cops and storm into a Mafia-controlled numbers bank where they proceed to steal $300,000. However, the heist turns violent and the three robbers end up killing everyone in the room, including a few Mob guys, several blacks, and even a couple of real cops who happen by. The Mob send in a small-time hood with big-time ambitions, the violent and trigger-happy Nick D'Salvio (Antony Franciosa), to find the three crooks. Meanwhile, Harlem gang lord Doc Johnson (Richard Ward) puts his own guys on the trail of the trio of robbers. Caught up in the hunt too are cops Frank Mattelli (Anthony Quinn) and Det-Lt. Pope (Yaphet Kotto), the former an aging hard-nut who uses violence and intimidation to get results, the latter a young and honest black officer who prefers diplomacy wherever possible.
Rarely has New York been portrayed as such a living hell, certainly for those living in poverty and squalor. Initially, the viewer is repulsed by the three robbers for what they've done, but quickly they are made to look positively sympathetic as the truly repulsive supporting characters are introduced - Franciosa, chillingly psychopathic; Ward, ruthless and manipulative; and Quinn, totally lost in corruption and aggression. Only Kotto's character shows any grain of decency and optimism in this ugly society. Viewed nowadays, the film has a slightly dated feel to it which lessens the relevance of some of the social comment being explored. Quinn and Kotto don't get enough time on-screen either, which is a shame as their volatile working-relationship isn't explored as much as it could be and the twist ending lacks impact because their characters haven't been sufficiently developed. However, Across 110th Street still deserves to be seen for its ground-breaking violence, its hard-boiled action, and its relentlessly damning views of New York's ethnic wasteland in the early '70s.
Better soundtrack then movie
jellopuke18 April 2020
A still undiscovered classic
rufasff26 May 2002
This movie sweats. Early on in the mostly pandering "blacksplotation" film cycle of the seventies, came this incredibly violent, hate filled drama of three small time crooks who stumble on a big score and their hopeless attempt to survive it. The film is utterly dark and features nary a cheap shot or moment of easy cynicism.
In one scene Anthony Quinn and Yaphet Kotto go to the apartment of one of the crooks lovers, already slain, to look for information and break the news. This is one of the most heartbreaking scenes ever put on film, a model of restraint and economy in a film that is busting at the seams. Actors who were probably barely in another movie give magnificent performances. The neglected Kotto was never better.
A very disturbing film that demands to be seen; art.
In one scene Anthony Quinn and Yaphet Kotto go to the apartment of one of the crooks lovers, already slain, to look for information and break the news. This is one of the most heartbreaking scenes ever put on film, a model of restraint and economy in a film that is busting at the seams. Actors who were probably barely in another movie give magnificent performances. The neglected Kotto was never better.
A very disturbing film that demands to be seen; art.
Gritty
bensonmum26 June 2005
Warning: Spoilers
- Across 110th Street is definitely a product of its time. Although it's lumped in with the Blaxplotation movies of its day, it's really doesn't belong with those films. While films like Foxy Brown, Cleopatra Jones, and Superfly featured larger than life characters that border on being comic book characters, Across 110th Street seeks to give a more accurate portrait of what was happening in the inner-cities in the early 1970s. Sure, the events have been fictionalized, but the gritty truth is just under the surface. These aren't pretty pictures with pretty Hollywood actors. These are people with little hope for the future. They're almost forced to take chances with their lives and lives of their loved ones to make a better future for themselves. It's ugly and totally fascinating at the same time. Across 110th Street is movie not to be missed.
You Stick It Up Your A** Brother!
sol-kay29 August 2005
**SPOILERS** A bloody shootout in a Mafia safe-house apartment results in the rip off of $300,000.00 from the mob's Harlam bank. It also cost the lives of seven people including two members of the Mafia Gennaro family.
Old Don Gennaro, Frank Macetta, is worried about his operations in Harlem falling apart and has his young hot-shot and sadistic son-in-law Nick D'Salvio, Tony Franciosa,to get things back to normal. Nick starts by trying to get back the stolen loot with the help of the Mafia controlled Doc Johnson, Richard Ward,who runs their Harlem rackets.
The three, who knocked off the mob's monthly take, Jim Harris Joe Logart & Henry Jackson, Paul Benjamin Ed Bernard & Antonio Fargas,are marked for death not only by the Mafia and the Jackson Harlem syndicate but by the NYPD. Not just for ripping off the mob but for the murder of two policemen who tried to stop the trio's getaway.
Put in charge of the murder/robbery investigation is young and collage educated Let. Poke, Yaphet Kotto, which irritates the local police precincts Capt. Mattelli, Anthony Quinn, who feels he should be the one in charge. This causes friction not only between the two cops but the men of the 27th precinct who feel that Capt. Mattelli should run the investigation.
During the movie Capt. Mattelli grudgingly accepts the decision of Let. Poke being put in charge over him since he's been compromised by taking graft from Johnson for years, that will only hamper finding the three hoods who ripped the Johnson/Mafia off. Capt. Mattelli also learns only to late that once your in the pay of the mob the only way you can get out, or retire, of that squalid arraignment is in a pine box.
Extremely brutal crime/drama with two of the persons, Henry J. Jackson & Joe Logart, who dared to take the mob's ill-gotten gains ending up viciously tortured and murdered by the maniacal Nick D'Salvio, who took a sick and morbid glee in doing the two in.
The third man, and head, of the group of robbers Jim Harris was a lot harder and far more dangerous nut to crack and find by Nick and his hoods. Tracked down in an abandoned building in West Harlem. Jim alone with his common-law wife Gloria,Norma Donaldson, begins to freak-out when he get's epileptic seizures with no medication on hand to relive them. This time thing don't go off that well for Nick and both the Mafia and Johnson mob, like it did with both Joe & Henry. By the time the shootout was over the entire block, where Jim was holding out in, was left shot up and demolished together with Jim Nick and Gloria.
Superior crime/movie with a stand-out performance by a young, 34 at the time, Yaphet Kotto as Let. Poke who showed the overly brutal Capt. Mattelli that you don't get the same results in solving crimes with 1940's police tactics in the year 1972. Even more important it's a lot better to be an honest cop then a dirty one in both having a clear conscience and long lifespan.
Old Don Gennaro, Frank Macetta, is worried about his operations in Harlem falling apart and has his young hot-shot and sadistic son-in-law Nick D'Salvio, Tony Franciosa,to get things back to normal. Nick starts by trying to get back the stolen loot with the help of the Mafia controlled Doc Johnson, Richard Ward,who runs their Harlem rackets.
The three, who knocked off the mob's monthly take, Jim Harris Joe Logart & Henry Jackson, Paul Benjamin Ed Bernard & Antonio Fargas,are marked for death not only by the Mafia and the Jackson Harlem syndicate but by the NYPD. Not just for ripping off the mob but for the murder of two policemen who tried to stop the trio's getaway.
Put in charge of the murder/robbery investigation is young and collage educated Let. Poke, Yaphet Kotto, which irritates the local police precincts Capt. Mattelli, Anthony Quinn, who feels he should be the one in charge. This causes friction not only between the two cops but the men of the 27th precinct who feel that Capt. Mattelli should run the investigation.
During the movie Capt. Mattelli grudgingly accepts the decision of Let. Poke being put in charge over him since he's been compromised by taking graft from Johnson for years, that will only hamper finding the three hoods who ripped the Johnson/Mafia off. Capt. Mattelli also learns only to late that once your in the pay of the mob the only way you can get out, or retire, of that squalid arraignment is in a pine box.
Extremely brutal crime/drama with two of the persons, Henry J. Jackson & Joe Logart, who dared to take the mob's ill-gotten gains ending up viciously tortured and murdered by the maniacal Nick D'Salvio, who took a sick and morbid glee in doing the two in.
The third man, and head, of the group of robbers Jim Harris was a lot harder and far more dangerous nut to crack and find by Nick and his hoods. Tracked down in an abandoned building in West Harlem. Jim alone with his common-law wife Gloria,Norma Donaldson, begins to freak-out when he get's epileptic seizures with no medication on hand to relive them. This time thing don't go off that well for Nick and both the Mafia and Johnson mob, like it did with both Joe & Henry. By the time the shootout was over the entire block, where Jim was holding out in, was left shot up and demolished together with Jim Nick and Gloria.
Superior crime/movie with a stand-out performance by a young, 34 at the time, Yaphet Kotto as Let. Poke who showed the overly brutal Capt. Mattelli that you don't get the same results in solving crimes with 1940's police tactics in the year 1972. Even more important it's a lot better to be an honest cop then a dirty one in both having a clear conscience and long lifespan.
Hard-bitten Big Apple
NORDIC-230 June 2014
Warning: Spoilers
Adapted from Wally Ferris's 'Across 110th' (Harper & Row, 1970) by playwright-screenwriter Luther Davis ('Lady in a Cage'), 'Across 110th Street' is often lumped into the blaxploitation genre but is atypical in several respects. Created by white filmmakers, 'Across 110th Street' does not cater to black audiences by featuring the requisite black-urban-outlaw-superhero wreaking vengeance on the white power structure through acts of stylized mayhem. A cross-town street, 110th in Manhattan skirts the northern edge of Central Park and divides Harlem to the north from the upper East and West Sides, i.e., the then-mostly poor black and Hispanic ghetto from the mostly affluent white districts. More than a street, 110th is the city's dividing line between the haves from the have nots. Three black working-class Harlemites—Joe Logart (Ed Barnard), Jim Harris (Paul Benjamin), and Henry J. Jackson (Antonio Fargas)—figuratively cross the line when they rob a mafia counting house in Harlem of $300,000 and, in the process, kill seven people including two cops. The robbery and mass murder naturally trigger parallel pursuits by the NYPD and the mafia; the former determined to bring the trio to justice, the latter bent on exacting vengeance and recovering the stolen loot. Because the crimes took place in Harlem, Lt. Pope (Yaphet Kotto), a young, by-the-book black detective, is put in charge of the investigation, much to the chagrin of Capt. Mattelli (Anthony Quinn), a brutal, racist 55-year-old cop strictly "old school" in his methods and beliefs: the kind of match-up already made archetypal by Sidney Poitier and Rod Steiger in 'In the Heat of the Night' (1967). On the mafia side, Nick D'Salvio (Anthony Franciosa), the grinning, psychopathic son-in-law of a mafia don, is assigned the task of catching the three killer-crooks. Further complicating the situation is the menacing power of Mr. Jessup (Joe Attles), a gruff black crime boss who maintains an uneasy alliance with the mafia and crooked cops (including Capt. Mattelli) over the rackets in Harlem. Across 110th Street fails to generate much suspense because the mafia easily bests the cops in getting to each of the fugitives first. On the upside, Barry Shears' direction is surefooted, the film is graced by an evocative soundtrack by Bobby Womack and J.J. Johnson, and features solid acting, relentless action, suitably grotesque violence, and an aura of gritty authenticity that could only be had by filming on location in New York City at one of the lowest points in its modern history. Blaxploitation fan Quentin Tarantino incorporated a version of Bobby Womack's title track, "Across 110th Street," into his third film, 'Jackie Brown' (1997). VHS (1998) and DVD (2001).
An excellent crime drama.
Hey_Sweden7 November 2013
While not truly "blaxploitation", the integrated cast is of major interest in this story (based on a novel by Wally Ferris) strongly and memorably depicting racial differences. Two detectives, a veteran Italian-American named Mattelli (Anthony Quinn) and an up and coming black, Lt. Pope (Yaphet Kotto), are forced to work together while investigating the case of three black men (two of them disguised as cops) who ripped off money from a Mafia controlled bank. Now it's up to Mattelli and Pope to find the three men before the Mafia is able to get their revenge.
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. It's got quite a lot of hard hitting violence, and may be uncomfortable to watch at times for some viewers. The music by J.J. Johnson is superb and there are also great songs by Bobby Womack on the soundtrack. There's one ingenious cut a little past the 77 minute mark. The pacing is quite effective and the storytelling always interesting and compelling.
Quinn is solid as the old school, bigoted veteran and Kotto is his match as the more disciplined, efficient younger man. Anthony Franciosa is fun in a key supporting role as a mob henchman, and the cast is peppered with many familiar faces. Delivering standout performances are the raspy voiced Richard Ward as gangster Doc Johnson and Paul Benjamin as determined career criminal Jim Harris. 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.
Overall this is potent entertainment and deserves its place among the great NYC-based films of the 1970s.
Quinn and Shear were the executive producers.
Eight out of 10.
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. It's got quite a lot of hard hitting violence, and may be uncomfortable to watch at times for some viewers. The music by J.J. Johnson is superb and there are also great songs by Bobby Womack on the soundtrack. There's one ingenious cut a little past the 77 minute mark. The pacing is quite effective and the storytelling always interesting and compelling.
Quinn is solid as the old school, bigoted veteran and Kotto is his match as the more disciplined, efficient younger man. Anthony Franciosa is fun in a key supporting role as a mob henchman, and the cast is peppered with many familiar faces. Delivering standout performances are the raspy voiced Richard Ward as gangster Doc Johnson and Paul Benjamin as determined career criminal Jim Harris. 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.
Overall this is potent entertainment and deserves its place among the great NYC-based films of the 1970s.
Quinn and Shear were the executive producers.
Eight out of 10.
Great gangster depiction from the early 70's
Bogey Man25 July 2002
Barry Shear directed and Luther Davis wrote (after a novel by Wally Ferrsi) Across 110th Street in 1972 and the film stars Anthony Quinn as Mattelli and Yaphet Kotto as Pope. Pope and Mattelli are two police detectives, Mattelli white and Pope black, who investigate a bloody machine gun murder that took place in Harlem, in a location in which there rarely are any white people doing something else than business. Somebody stole big amount of Italian mafia's money and it all ended up in the bloody shoot out, and only the thieves got away alive. The two lead characters try to solve this thing before it is too late, since the mafia is willing to use violent ways in order to get its money back..This is a premise for this classic film.
I really love the atmosphere in this film since it is something that totally lacks in most of today's films. The setting in Harlem is very ugly, dirty and gritty and therefore true to life. This film doesn't hide anything, it shows the true faces of life in this big city and all the diseases from prostitution to murder that live inside it. This film is pretty close to Don Siegel's masterpiece, Dirty Harry (1971) which also showed very gritty urban setting without any bit of humor or something to ease the realistic and merciless atmosphere. The photography is also very great and technically there are no worth mentioning flaws in this film. The action scenes are exciting - albeit not too plenty - and everything in this film is as powerful and effective as the director and screenwriter intended to.
The most tragic character is Quinn's Mattelli, who is 55 and not so willing to continue his life in police and with all this scum. Kotto's character is younger and still willing to keep on, but at the end of the movie, he may have another thoughts about his life, too. The end scene is very powerful and memorable mostly because it is so tragic and sad and also intelligent and thought-provoking. The whole last 10 minutes is very remarkable as the tension is in top and no one knows how this will end and, more importantly, who will be alive at the end. Bullets when fired do their jobs and never leave anyone alive in this violent and greedy world.
The performances are totally wonderful, and I personally like Quinn the most in this difficult film. He acts very convincingly and has some hard scenes and segments, which show his abilities as an actor. The violence despite being brutal in mental way, is very strong physically, too, as the mafia tortures people without remorse in order to reach its target, but also they should have finished before it became too late. Violence and crime never pays, and this is again one movie to depict and tell about it. This film may not be too "graphically violent" by today's video game and R rating standards, but compared to most of today's films, violence is far stronger and emotionally challenging in this honest film, which never glamorizes its brutality with stupid one liners and humor efforts. This is among the most realistic crime films I've ever seen. The moneybag at the end leaves some hope for tomorrow, even though the hope is for most of the protagonists themselves too late.
Across 110th Street has some pretty non-believable scenes and segments, which are not explained too carefully and seem little unconvincing, but they are very few and are easy to forgive after all the merits and positive things this film gives. This film is as classic as Dirty Harry and I give this 9/10 rating and recommend it very highly for lovers of gritty gangster and crime films, which never have any stupid efforts to amuse and entertain the audience with humor or other popcorn methods.
I really love the atmosphere in this film since it is something that totally lacks in most of today's films. The setting in Harlem is very ugly, dirty and gritty and therefore true to life. This film doesn't hide anything, it shows the true faces of life in this big city and all the diseases from prostitution to murder that live inside it. This film is pretty close to Don Siegel's masterpiece, Dirty Harry (1971) which also showed very gritty urban setting without any bit of humor or something to ease the realistic and merciless atmosphere. The photography is also very great and technically there are no worth mentioning flaws in this film. The action scenes are exciting - albeit not too plenty - and everything in this film is as powerful and effective as the director and screenwriter intended to.
The most tragic character is Quinn's Mattelli, who is 55 and not so willing to continue his life in police and with all this scum. Kotto's character is younger and still willing to keep on, but at the end of the movie, he may have another thoughts about his life, too. The end scene is very powerful and memorable mostly because it is so tragic and sad and also intelligent and thought-provoking. The whole last 10 minutes is very remarkable as the tension is in top and no one knows how this will end and, more importantly, who will be alive at the end. Bullets when fired do their jobs and never leave anyone alive in this violent and greedy world.
The performances are totally wonderful, and I personally like Quinn the most in this difficult film. He acts very convincingly and has some hard scenes and segments, which show his abilities as an actor. The violence despite being brutal in mental way, is very strong physically, too, as the mafia tortures people without remorse in order to reach its target, but also they should have finished before it became too late. Violence and crime never pays, and this is again one movie to depict and tell about it. This film may not be too "graphically violent" by today's video game and R rating standards, but compared to most of today's films, violence is far stronger and emotionally challenging in this honest film, which never glamorizes its brutality with stupid one liners and humor efforts. This is among the most realistic crime films I've ever seen. The moneybag at the end leaves some hope for tomorrow, even though the hope is for most of the protagonists themselves too late.
Across 110th Street has some pretty non-believable scenes and segments, which are not explained too carefully and seem little unconvincing, but they are very few and are easy to forgive after all the merits and positive things this film gives. This film is as classic as Dirty Harry and I give this 9/10 rating and recommend it very highly for lovers of gritty gangster and crime films, which never have any stupid efforts to amuse and entertain the audience with humor or other popcorn methods.
110th, not a bad seventies view
videorama-759-85939120 August 2015
Another film inspired by a song, the racier version I didn't so much like, when compared to the one played at the start of QT's Jackie Brown. As for the movie, I did like, where I've seen it now, four to five times. This is an interesting cop drama with an interesting though simple plot, the movie that falls on the verge of a blaxploitation one, a little saggy though in part. Quinn plays a near retiring detective, 55, worn and weary, where he's spent 60 percent of his life in his occupation. His unconventional methods of force, as he says "get's results". After a mob money rip off by three small time ex cons, where a couple of black cops get in the line of fire with some other casualties, being that of the mob boys, he's assigned with a black cop (Yaphet Kotto) who as he says, is "running the show". That he is to Quinn's dislike, where the two form a kind of partnership and mutual friendship. Now we know, stolen money is dead money, and if it's mafia involved, those three thugs lives are dwindling, their fate so foreseeable, the last of three, creating a memorable and honorable death, followed by a shock passing from Quinn's character. We too get into the three black guy's lives, and their conflict with their partners, over their fateful actions, which I liked. Anthony Franciosa (Finder Of Lost Loves, Tenebrae, really is the standout in this and if you push his buttons, the fun is watching in how he responds. Antonio Fargas, an actor I've always liked and enjoyed watching, with his ugly black mug, is fun to here, as he is in other pics, as one of the low life money stealing who meets a short demise. At the other end of this bar, it's always a privilege fine actor Quinn, and here he's top form, giving reality and believiability to this character, even though his unjust methods are kind of reprehensible. This oldie but goodie seventies movie, isn't the best of it's time, but still stacks up pretty well, due to it's story, with some heavy and impactful violence, and it's other asset, Franciosa.
One of the greatest crime films ever
PeteStud3 April 2004
The real crime involved in this movie is the bare bones dvd release.Though the print is great this movie really deserves a revival and a special edition....its begging to be re-discovered!!! This film would have to be one of the greatest crime flicks ever. No one dimensional characters here...all of them struggle with good and bad inside themselves and the motivations are clear. Totally unpredictable and full of incredible exciting scenes with great thoughtful dialogue. Not a typical black cop/ white cop movie this breaks rules and has scenes Ive never seen before... you cant do better than this flick.great theme song too which was re-done and updated again by the original composer Bobby Womack for Jackie Brown.check it out!You wont be dissapointed....
new york in the 70s !
ksf-217 April 2020
Anthony Quinn, Yaphet Kotto, and Tony Franciosa star in this flashback to 1972. Someone is stealing from the mob, and the cops (as well as the mafia bosses!) want to find out who it is. When a huge drug deal goes wrong, Captain Frank Mattelli (Quinn) is called in to try to investigate. Some fun scenery of New York City from the 70s. also talk of race relations and the difference between harlem and central park at the time. Kotto is Lieutenant Pope, who thinks he's in charge of the investigation. New York was a crazy, dirty, high-crime place in the 1970s, 1980s, before it got Disnified. when they pull a car out of the drink, even the black tow truck driver wants to know who's in charge, and has a hard time believing the black Lieutenant is in charge. black rights issues. caucasian Mattelli is friendly and helpful to all, regardless of race. while he has a good heart, he is also on the take, like so many. Directed by Barry Shear.. died quite young at 56, from cancer, according to world heritage dot org. looks like this film was produced by anthony quinn and barry shear. it's a little dark, but it was a sign of the times. pretty rough. life in the 1970s. Good film.
Pointless violence with racist overtones destroy this darkly filmed mob film.
mark.waltz16 March 2013
Warning: Spoilers
When some small-time Harlem crooks go up against the Mafia, racist slurs are shot out in addition to the excessive gunfire. The cops get involved, lots of people are killed, and nothing is resolved.
This could actually be considered a "Northern" version of "In the Heat of the Night" where an Italian cop (Anthony Quinn) is paired with a black one (Yaphet Kotto) to solve this case where the mafia got an execution style assassination where $300,000 is stolen. The streets of Harlem are not going to be safe for anybody, and there seems to be more people involved in this heist than the ones first shown committing the caper on-screen.
While there is some excellent location footage used for some fast-moving chase and fight sequences, the film is badly photographed so a lot of it appears either blurry or dark. A sequence at a club that appears to be involved in a full-on orgy is interrupted by the mobsters where none of the black people standing in the background do anything to keep Antonio Fargas from getting smashed to bits. It isn't the violence or even excessive foul language which makes this a mediocre blaxploitation film; It is the convoluted editing and transition between different characters either on the side of the law or the mafia, with some of the characters (particularly Quinn's) being rather undefined. Quinn's character goes through moments where he seems sympathetic to certain blacks, yet all of a sudden is violently racist. Kotto is definitely playing a character modeled after Sidney Poitier's Mr. Tibbs which makes him likable yet un-original.
The scene where Fargas's wife is told of his death is probably one of the few excellent dramatic movies in the film. I give this an extra star above bomb because as a Harlem resident, I can see some areas of reality. Had this had a more personal story and less gruesome gratuitous violence, it would have been alright.
This could actually be considered a "Northern" version of "In the Heat of the Night" where an Italian cop (Anthony Quinn) is paired with a black one (Yaphet Kotto) to solve this case where the mafia got an execution style assassination where $300,000 is stolen. The streets of Harlem are not going to be safe for anybody, and there seems to be more people involved in this heist than the ones first shown committing the caper on-screen.
While there is some excellent location footage used for some fast-moving chase and fight sequences, the film is badly photographed so a lot of it appears either blurry or dark. A sequence at a club that appears to be involved in a full-on orgy is interrupted by the mobsters where none of the black people standing in the background do anything to keep Antonio Fargas from getting smashed to bits. It isn't the violence or even excessive foul language which makes this a mediocre blaxploitation film; It is the convoluted editing and transition between different characters either on the side of the law or the mafia, with some of the characters (particularly Quinn's) being rather undefined. Quinn's character goes through moments where he seems sympathetic to certain blacks, yet all of a sudden is violently racist. Kotto is definitely playing a character modeled after Sidney Poitier's Mr. Tibbs which makes him likable yet un-original.
The scene where Fargas's wife is told of his death is probably one of the few excellent dramatic movies in the film. I give this an extra star above bomb because as a Harlem resident, I can see some areas of reality. Had this had a more personal story and less gruesome gratuitous violence, it would have been alright.
Rough Harlem action on this side of Main Street.
emm21 February 1999
Don't expect ACROSS 110TH STREET to carry the mile-high groove factor like the A.I.P. movies. This, being a very early entry to the blaxploitation genre, may have triggered controversy over its showing of racial violence to the general public. It was no doubt that 1970 introduced the phase anyway, with COTTON COMES TO HARLEM. Aside from any historical figures, the authentic detail of dark, inner-city Harlem life was the main attraction along with the bloody, nasty violence. Anthony Quinn's appearance doesn't matter, but Yaphet Kotto's indifferences with him add more juice to the film. "Blaxplo" fans have seen stuff like this before, but there are plenty of rough guts to chew on in this action drama where the ghetto is no place to hide or escape from. Another fine classic from the gritty 70s.
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