Luca il contrabbadiere [Luca the Smuggler] (Italy, 1980) [a.k.a. The Smuggler / La guerre des gangs / The Naples Connection]
Review by: Kit Nygaard-Gavin
Written by: Gianni de Chiara, Ettore Sanzo, Giorgio Mariuzzo, Lucio Fulci
Directed by: Lucio Fulci
Cast: Fabio Testi, Ivana Monti, Guido Alberti, Daniele Dublino. Fabrizio Jovine, Venantino Venantini, Saverio Marconi, Cinzia Lodetti, Ajita Wilson, and Marcel Bozzuffi.
Source: Blue Underground [United States, NTSC Region 0 ]English language. 

Luca De Angelo [Testi] is a small-time Neopolitan smuggler of cigarettes, working alongside his brother Mickey in the Bay of Naples.   His operation is uncovered raided by the police, resulting in Luca losing his merchandise and any profits that might be made.  However Luca is convinced that someone is responsible for “grassing” to the police, and in consequence, gets dragged into a turf war with various other dons and a nasty godfather called François Jacqois [Bozzuffi], nicknamed the Marsigliese, who prefers the smuggling of narcotics over and above that of cigarettes and alcohol.  Mickey [Enrico Maisto – who appeared in numerous Italian gangster flicks in the 70s] ends up being murdered by the drug lords in front of him subsequent to one of his racehorses being killed. Following Mickey’s murder, the other dons in the area are systematically wiped out, and Luca initially believes that these executions are being undertaken at the behest of Scherino, another don with whom Mickey had a run-in.  However it soon turns out that it is Jacqois who is responsible for the deaths.  Jacqois is a particularly unpleasant character, not least because he wants to smuggle drugs into Naples (De Angelo and the other dons were content with cigarettes) but he also seems to calmly enjoy disfiguring a drugs mule responsible for trafficking low-grade cut cocaine into Naples (via a lipstick tube concealed in her vagina)   Luca promptly has the shit beaten out of him, leaving him in a pool of his blood.  However, Luca still to be converted to smuggling drugs, and he turns to other dons for help – one of whom ends up blown up in his bed whilst engaged in a threesome on his bed with a couple of tarts.  The Treasury Police also arrest all the dons but this still doesn’t stop Luca.  So, the henchmen of the diabolical Marsigliese kidnap his loving wife Adele [Monti] and she is beaten around and brutally raped, with Luca being made to listen to her squeals for mercy down the telephone, before suffering in agony.  Finally pushed over the edge, Luca, determined to take revenge, sets about eradicating his enemies.    

Following on from the success of the cop thrillers (known as “poliziotteschi” in their native Italy) which were pioneered by Umberto Lenzi and Enzo G Castellari, usually starring Tomas Milian or Maurizio Meri, together with a nod to blaxploitation movies, Melville’s crime dramas from the 60s starring Alain Delon, and Coppola’s Godfather movies, Fulci’s [sole] entry into the genre is a worthy interlude in between his quartet of horror movies which tended to involve zombies or the undead and for which this movie has been neglected as it seems to be a significant and complete departure from the genre which was to make Fulci’s name for fans of genre cinema.  Fulci’s career can be divided into “years” from the musicals in the late 50s, the Franchi-Ingrassia comedies of the 60s, the gialli of the early 70s, the “undead” horrors of the early 80s, and the cheap horror films of the late 80s, it seems that Fulci would take a step back and create a film different to the genre he was starting to master; an example being the masterful Beatrice Cenci which he wrote and directed midway through his directing three stylish and excellent gialli in the late 60s / early 70s.  The same is true here of Contraband, directed following on from the worldwide success of Zombie (which acted as a launchpad into the international horror film arena for Fulci and his collaborators).  Like Beatrice Cenci, Fulci is showing his versatility as a director, showing his capacity to juggle genres, although this film is not as impressive nor stylish as Cenci, it is nonetheless entertaining and a far more entertaining movie and diversion than his later efforts away from the horror/suspense genre, such as the dire Conquest or The New Gladiators.   

There are moments in this film which are “trademarks” or Fulci traits which were and do “crop up” in his filmography, not least an emphasis on stylistics and visuals over and above storytelling and script (to generalize, an aspect which seems to be prevalent in Italian cinema – from A list directors downwards with few exceptions), as well as shocking setpieces of violence and a somewhat demeaning and disdainful approach towards his women characters, such as the brutal treatment of Adele di Angelo or the sadean punishment inflicted on Ingrid, the drug trafficker, by “the Marsigliese” when he suspects her and her cohorts of trying to rip him off. Not content with scarring her face for life, he dismisses her with the throwaway statement of being a “stupid cunt” for trying to fleece him, and unsuccessfully.  Reviewers and analysts have suggested that this treatment of females was due to Fulci’s misogyny, however in speaking to a number of actresses who worked with Fulci [not least Ivana Monti, the only significant female role here in this predominantly male cast movie]; it actually turns out that Fulci had respect for talented, intelligent women, if not a little fear of them, his respect did not extend to young “actresses” forced upon him because they were producer’s girlfriends or had little to no ability.  

There are moments in the film which add to the stylish polish of the film, not least the series of the execution of various other godfathers by the rival gangs, a series of timed executions taking place in settings, giving time and location, which although a non-too-subtle nod to The Godfather are somehow pulled off successfully, not least the atmosphere created in execution that takes place in the church, or the excessive brain-splashing killing that occurs at the racetrack.  Special effects are effective as well, such as the effective execution mentioned previously and the gruesome burning of Ingrid’s pretty face by blowtorch, adding to the genuine discomfort and nastiness of the piece.  Another scene which is particularly well shot is the funeral which takes place by the docks, where various members of the cast are there to pay their respects following on from the demise of one of their own.  Moments like this his, however, are juxtaposed with some very odd and out of place moments within the film – such as henchmen being arrested whilst eating spaghetti or sitting on the lavatory.   

For the making of the film Fulci employed a number of individuals from his regular crew of technicians, which he would employ again and again throughout his best efforts in this era of his career, with excellent and exciting cinematography by Sergio Salvati [the scenes with the boats are particularly well shot and the chases are exciting], and the film is tightly and briskly edited by the late Vincenzo Tomassi. The film sometimes seems a little muted and soft focus, but this seems to be down to the way in which it was actually shot, as opposed to any fault in the transfer from the original elements.  In addition, there is the work of Franco di Girolamo, with squibs and exploding chests, backs, heads everywhere.  Di Giolamo, having worked with Fulci since A Lizard in a Woman’s Skin, alongside Carlo Rambaldi, is responsible for the potent special effects, slowed down (in a Sam Peckinpah fashion) for maximum effect.  Effects are gooey and bloody, but although over the top, are nasty and savage, mean and gruesome, and far removed from the comicbook splatter effects in his horror films.   

Fulci’s direction shows his usual gusto for the period, coupled with effective external shots of boats, action, and chases, a brave move for Fulci (and wasn’t repeated in his oeuvre), most of his films tending to concentrate on interiors and mostly studio bound, with exteriors only serving to give the film ambience rather than being integral to the film or its plot.  Rounding off the film is another memorable and high quality soundtrack by Fabio Frizzi who contributes another excellent score, showing his versatility as composer.  One of the disappointments is the post production English language dubbing (not least owing the at time risible dialogue) which is somewhat weaker than usual, or seems less appropriate in the context.  Whether this light relief is intentional of not, I couldn’t say but seems out of character for Fulci’s canon of work.  One particularly ridiculous exchange in dialogue is when the doctor is referred to as being “a son of a bitch”, and his subsequent retort to the insult.  The film might be better enjoyed in its original Italian, but the option isn’t given in this presentation (or indeed any other DVD release – to date).  

Performances throughout the film are generally good, with Fulci benefitting from a generally competent cast. Though admittedly the majority of the roles aren’t exactly demanding, challenging nor requiring of exacting performances from the characters.  The best performance, without a doubt, of Marcel Bozzuffi, a fine performer of French-Italian heritage, immediately recognisable to audiences from his memorable performance in William Friedkin’s blockbuster The French Connection, made nearly a decade before.   Throughout his career, Bozzuffi appeared in a number of other excellent movies, such as Robert Altman’s bizarre Images, Le gitan opposite Alain Delon, and Antonioni’s Idenificazione di una donna.  When not working in films or appearing on stage, Bozzuffi frequently worked as a dubbing artist in his native France, his voice being one of the most distinct for the dubbing of non-French speaking performers during the 1970’s in French cinema.  Leading the male cast, the eponymous hero, Luca, is played by Fabio Testi.  As stated in my previous reviews of other films featuring Testi as a performer, Testi has long been a popular actor in his native Italy as well as in Spain, and this film marks his second (and final) collaboration with Fulci as director, having previously worked together on The Four of the Apocalypse.  And once again, Testi delivers a rather impassive performance, admittedly showing marginally more grit here than usual. But, not to overstate his performance, is his usual typically uncharismatic self, and inexpressive and wooden as a leading man.  His character is still sympathetic, and the viewer can feel sympathy for Luca, following his brother’s murder and the assault on his wife (and by extent – family life).   

Other smaller supporting roles are filled by a number of familiar faces in Italian genre cinema, actors such as Venantino Venantini and Fulci’s close friend Fabrizio Jovine [both of who were to appear in his subsequent City of the Living Dead – released in Italy roughly at the same time as this film, but to more commercial success overseas].  Other familiar male faces include Daniele Dublino, Luciano Rossi, in addition to an early performance, as a small time drug lord, by Saverio Marconi (who would go on to be one of Italy’s leading choreographers and directors of musical theater).   

Women characters are few and far between in this film and their presence seems to be almost incidental to the plot and they are relegated to very much secondary roles.  The lead female role is that of Adele, Luca’s devoted yet discontented wife, is played by Ivana Monti, still a popular theatrical actress in her home country.  On speaking to Ivana Monti in 2003, she comes across as an extremely charming, bright and witty woman who remembers Fulci with great warmth and affection to this day; quite unlike her male lead whom she feels didn’t really throw himself into the role with much conviction. Her character, however, really doesn’t have a great deal to do other than to look pretty and complain to her husband that she disapproves of their lifestyle, yet is required to be loving and supportive when she finds him at home, covered in blood, beaten within an inch of his life.  In one of the films more harrowing scenes, the kidnapped Adele is sodomised by one of Jacqois’ thugs [Romano Puppo], her fear and terror are shown to the viewer, yet [thankfully!] the film however seems to distance itself from the ugliness of the rape, not gloating over the visuals of her humiliation as would have been popular at the time for directors of exploitation movies.  When recalling this scene, Monti recalls the late Puppo as being tremendously upset and apologetic when having to perform this scene with her. 

The remainder of the female characters are generally perfunctory.  Girlfriends, mothers, wives and sluts.  Of note, the drug trafficker [Swiss actress, Ofelia Meyer] who has her half her face savagely burnt with a blowtorch. And, in essentially what is a glorified cameo, transsexual extraordinaire Ajita Wilson appears as Luisa “the little Neopolitan”, a slutty gangster’s moll. Wilson isn’t required to do much other than look pretty, and flaunt some flesh (her backside literally “flashing” up on screen several times during the memorable yet trashy disco sequence.  This scene is there to provide titillation, and the opportunity to enjoy another trashy yet catchy 70’s Europop song.  Italian film makers never managed to successfully film scenes in a disco with much gusto or success (amongst the worst being Eyes Behind the Wall and Emanuelle’s Revenge), and Fulci is no exception here. Entertaining all the same and the song is a guilty pleasure to listen to, very much of it’s time and the opening lyric even has the nerve to ask the viewer if he/she “remembers last Saturday night”.  The remainder of the female cast being merely very supporting roles or eye candy. 

Given that Contraband was Fulci’s one foray into the gangster/poliziotteschi genre in Italian cinema (perhaps a little late in the day – as the genre had enjoyed it’s heyday in the mid 1970s), the film comes across as surprisingly successful, nasty and effective entertainment.   In fact, Contraband is without doubt one of the more nasty and brutal cop thrillers in the whole Italian subgenre. 

Contraband surprisingly doesn’t seem to have entertained much success since the initial release in August 1980 (in Italy), other than small cinema releases in Spain and Germany,  There doesn’t appear to have been any English language theatrical releases in the world.  In the early days of videocassettes, it was released in the United Kingdom uncut on videocassette as The Naples Connection (a nod to the casting of Bozzuffi), and was followed up by a heavily cut release as The Smuggler.  The film surfaced here and there on videocassette and was released in Holland on DVD under the Smuggler monicker, however this release was on a very poor quality print, incorrectly framed and worst of all was heavily cut, not least during the more bloody killings and the brutal scene where Adele is sodomised.  The film was never a bright, vibrant movie, unlike Fulci’s horror efforts, which although dark and gothic were nonetheless colorful, and the exteriors in the speedboats (shot around the Bay of Naples in December) look bleak; the scenes, such as in the church and at the disco, warrant a bright clean print.  Print damage seems minimal on this release, and the soundtrack is presented in the original mono format, mercifully free of hisses and pops that more often than not surface in films of this age, and viewers can appreciate Frizzi’s soundtrack without interruption. 

Extras for this release are disappointing to say the least as they are minimal in the extreme, and the lack thereof are what has brought down the overall rating of the DVD release.  Extras are limited to a theatrical trailer showing some of the film’s more gruesome moments, the eagle eyed viewer will spot an uncredited Lucio Fulci in the trailer as a henchman rather than his usual cameo as a doctor or medic, and two well written (but recycled from other DVD releases) talent bios, for Fabio Testi and Lucio Fulci.  The term “unimpressive” would be an understatement when describing these extras, given Blue Underground’s track record for having put together interesting featurettes and documentaries in the past to accompany their releases. Despite this disappointment, the film still comes highly recommended.  Unfairly neglected over the years and at long last this release presents Fulci’s gangster film in the best possible light.  This film will probably be best appreciated by those who enjoy Fulci’s horror films, for those who enjoy the Italian crime thrillers, and also for novices to Fulci’s work – showing that the director was more than capable of other genres outside of those he was comfortable and familiar with.  Most of all, he was not just reliant on stringing together gory set pieces with a stylish photography, spooky music and gothic atmosphere to create a good film.  

STORY/FILM : - 3.5 / 5 Bitch Slaps
PICTURE: - 4.5 / 5 Bitch Slaps
AUDIO: - 4.5/ 5 Bitch Slaps
EXTRAS: - 0.5 / 5 Bitch Slaps
OVERALL DVD: - 3.5 / 5 Bitch Slaps