ACROSS 110TH STREET (1972)
A brutal, high-energy urban crime drama that in many ways
hits the marks SHAFT failed to do.
ACROSS 110TH STREET concerns the
theft of $300,000 of mafia money by three black men and the street war that
breaks out in pursuit and revenge for it in New York by the sadistically
zealous Anthony Franciosa. Caught in the crossfire is the thrown-together caustic
relationship between a buttoned down by-the-book policeman Yaphet Kotto and the
racist, quick-tempered older officer Anthony Quinn. Both are excellent
contrasts. Kotto is self-contained and under control while Quinn impulsively talks
with his fists to suspects and roars with paranoid frustration at the knowledge
he is on borrowed time in an ageist force. The theme of age is mentioned a
number of times on both sides of the fence; characters’ ages and consequent
vulnerabilities are referenced in their flinty duologues.
Paul Benjamin is also terrific as the nervy junkie of the
three thieves who makes it all the way to the final rooftop stand-off with the
police. Genre stalwart Antonio Fargas gives flamboyant value for money in his
familiar role as a pimp with the sartorial flair to sport an impressive
harlequin coat that the Pied Piper would envy. This may partly be what gets him
beaten to a pulp by Franciosa later on.
Bobby Womack provides a great score, including the title
song (an even better version of which is homage as the opening theme of
Tarantino’s JACKIE BROWN).
What impresses most about ACROSS 110TH STREET is
its commitment, being full of energised, motivated performances by the whole
cast who really inhabit their roles with gusto and high stakes. Time feels like money and the leisurely
cool-cat strutting of John Shaft wouldn’t last five minutes on these deadly
streets. There is also no shying away from violence, no coy disguising of the
visceral effects of beatings on suspects and stoolies in the film. Machine-gunned
mobsters are satisfyingly peppered with garish blood-squibs rather than
misleading bloodless cut-aways. Franciosa at one point dangles an informant
from a skyscraper girder and even when possessed of the information still
allows him to fall to his death.
The shocking slo-mo downbeat ending, so characteristic of
the early 1970s, also offers no sugar-coated typical Hollywood happy ending. Tragically,
not all partnerships have time to develop in a war zone.
‘A helluva tester’ are the mean streets in the title song’s
lyrics, but this hard as nails crime movie is a tough bad-ass pleasure.
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