Italian Crime Cinema: Blood In the Streets & A Decade of Violence Part 2

HOW TO KILL A JUDGE (1974)

THREE FACES OF CRIME: CORRUPTION, CLIQUES & CALABRESI CHAPTER 2

***WARNING! This article contains some pics depicting scenes of bloody violence & nudity***

CONFESSIONS OF A POLICE CAPTAIN (1971)

One of the chief accomplices in the burgeoning crime pictures that were soon to unspool at a rapid rate was the criminally underrated (at least in this country) director, Damiano Damiani. He specialized in message movies that spoke about the controversial subjects of the time. His movies, like many of the political crime thrillers, aren't the typical poliziesco a lot of fans are accustomed to. His movies are predominantly character driven focusing more on the situation than the action. He scored a classic in the spaghetti western genre with A BULLET FOR THE GENERAL (1966), one of the best examples of the political spaghetti western. Damiani comfortably transposed his directing style to the topical modern day thrillers of the late 1960's and throughout the 1970's. His CONFESSIONS OF A POLICE CAPTAIN (1971) is a fascinating look at an aging policeman's efforts to fight vicious crime and bring down mobsters by any means necessary. Franco Nero is on hand as the District Attorney who does things by the book and clashes with the sly police captain played by Martin Balsam.

CONFESSIONS OF A POLICE CAPTAIN (1971)

This old guard experienced in the darker side of criminality and what it truly takes to combat evil collides perfectly with the young, yet green lawman who constantly questions the underhanded means by which Commissioner Giacomo Bonavia (Balsam) makes his arrests. Seeking to procure the mobster Ferdinando Dubrosio (played by frequent bad guy, Luciano Catenacci), Bonavia attempts some dubious methods to get his man after arresting Dubrosio on three prior occasions. But because of lack of evidence, the mobster was set free. With Dubrosio running the largest construction company in the Italian metropolis, Bonavia explains to District Attorney Traini (Nero) that the city is built on corpses as Dubrosio's group has buried some 57 victims inside of cement blocks.

CONFESSIONS OF A POLICE CAPTAIN (1971)

Both Bonavia and Traini have little trust for each other and both even has the others phones tapped. As the film progresses, you learn why Bonavia has a serious vendetta against Dubrosio. Involving the death of a Union organizer, Giampolo Rizzo, Bonavia greatly respected the man who attempted to unite the frightened construction workers oppressed by Dubrosio.

CONFESSIONS OF A POLICE CAPTAIN (1971)

There's an excellent conversation between both Bonavia and Traini as the Commissioner unspools the fate of Rizzo and his three failed attempts to arrest the gangster and the deaths that resulted from them. Bonavia's character loses faith in the law once the valiant Union organizer, Rizzo has met a despicable end becoming a martyr in the process, yet truly dying for nothing. Upon finding his corpse buried under 200 feet of rock, Bonavia tells Traini, "It wasn't the face of a dead man. It was the face of a man who had...never known justice....never would." Just prior to Rizzo's death, Bonavia had a conversation with him and something Rizzo said pricked his conscience in relation to the law and what it represents, "No, you two are on the same side...you the police, him the gangster...and it's money that gives the orders!" Obviously Rizzo is stating that money talks and anyone can be bought with it. Those who are poor and helpless are the only truly honorable people in the world and it is they who must suffer so that those with reputation may remain in power.

What follows is another interesting conversation wherein Bonavia attempts to bring Traini to his way of thinking--

Balsam & Nero in a heated argument from CONFESSIONS OF A POLICE CAPTAIN (1971)

Bonavia: "Haven't you ever had any doubts about enforcing unjust laws?"

Traini: "It's not for us to judge the law but to--"

Bonavia: "--but to enforce it, yes, I knew you would say that. But let's say tomorrow the law stated that we had to use torture."

Traini: "Don't be absurd."

Bonavia: "Why? It used to be the law, it can be the law again. It's only a matter of principle. Then you would use torture if the law said so?"

Traini: "You're using an extreme example!"

Bonavia: Alright then, what's your limit?! How much injustice would you stand for to satisfy the people we work for?!"

Luciano Catenacci & Franco Nero from CONFESSIONS OF A POLICE CAPTAIN (1971)

Learning too late, Traini sees he has been fooled and used the entire time, with seemingly the entire police force being informers for Dubrosio's inner circle of immoral associates. With the threat of one of the largest criminally financed cesspools being flushed down the drain, extreme measures are taken to silence those who could bring harm to the money pockets of the cruel racketeers. By the time the end credits roll, Traini comes to the disheartening realization he has inadvertently caused the deaths of the only persons who could have brought the enormous wall of concrete corpses crumbling down around those that built them. An incredibly powerful and gloomy movie, it's one of the coldest, most cynical political thrillers to come out of the 1970's.

Franco Nero in HOW TO KILL A JUDGE (1974)

Damiani also handled directing chores on the intriguing and marvelous suspense thriller, HOW TO KILL A JUDGE (1974). Franco Nero returns in this film as filmmaker, Giacomo Solaris shooting a picture dealing with a corrupt judge with ties to the Mafia. Not long after, the judge in real life patterned after the one in his movie is murdered. Solaris (Nero) soon finds himself embroiled in a world populated by crooked politicians and gangsters where he places himself in danger in an effort to find out who could kill a judge. Throughout the course of the picture, Solaris himself becomes an object of suspicion to the police since his film was a cinematic premonition of the judge's murder. The authorities want to bring down a number of crooked politicians with ties to the Mob, yet Solaris simply wants to bring the judge's murderer to trial regardless of who it really is. Damiani's movie ends on a powerfully unexpected note that makes one question whether Solaris made the right decision or not. Either way, guilty parties are brought to justice, but at the same time, other parties, maybe even more culpable, are allowed to remain free.

Assassination in HOW TO KILL A JUDGE (1974)

This fascinating take on the political thriller may put off viewers expecting action as this film has very little of it. Instead, it substitutes violent shootouts for a slow burn as clues are uncovered leading to an incredible finish that isn't expected. Solaris' decision and final outcome brings about contempt from the authorities who sought to bring an end to greedy politicians with serious mob ties--"It was the only way." There's only one major scene of violence and it's a vicious shooting death by professional contract killers. The circumstances by which it happens adds a layer of bitter irony to the scene.

One of the EXECUTION SQUAD (1972)

Another searingly volatile effort is Stefano Vanzina's LA POLIZIA RINGRAZIA (FROM THE POLICE, WITH THANKS 1972) aka EXECUTION SQUAD. This picture is one of the most influential movies of the Italian crime boom during the 1970's. It is widely considered the progenitor of the Italian Crime genre and it was no doubt instrumental in the slew of similar movies that followed in its wake dealing with special squads implemented by the police to act outside the law and veiled in secrecy from the media. The film concerns a brutal vigilante group of former cops who kidnap and cold-bloodedly execute various crooks who have evaded the law, or have managed to get off on technicalities.

The COLT .38 SPECIAL SQUAD (1976) is assembled

The plot device of a private vigilante squad working outside the law to do the job the cops are somewhat helpless to carry out was reused in numerous other Italo crime pictures such as the popular VIOLENT ROME (1975). That film also utilized the 'Violent Cop' style modeled on the doomed real life policeman, Luigi Calabresi. COLT .38 SPECIAL SQUAD (1974), Ruggero Deodato's grim LIVE LIKE A COP, DIE LIKE A MAN (1975) and STUNT SQUAD (1977) are some of the films to feature cops, or dubious civic figures working outside the law.

STUNT SQUAD (1977)

In 1982, Bill Lustig directed a movie entitled VIGILANTE that was very reminiscent of the Italian crime pictures and featured a similar group that, although not affiliated with the law, prowled the streets to execute those callous individuals that escaped their legal final judgement.

LA POLIZIA RINGRAZIA aka EXECUTION SQUAD (1972)

LA POLIZIA RINGRAZIA (1972) is a brutally uncompromising motion picture that paints a grim and doom-laden view of court legalities, criminal activities and the darker side of law and order. The line between right and wrong is disturbingly blurred resulting in a film whose good guys are just as vehemently sadistic as the cruel bastards that escape punishment from the judicial system. The ending packs one helluva wallop and when the film is over, what you have seen will linger in your mind for some time afterwards. A highly recommended entry in the genre, it's notable for being a frightening look into the chaotic and chilling world the people of Italy found themselves in during the 1970's.

Milian & Balsam in THE COUNSELLOR (1973)

The second group are the films dealing strictly, or mostly, with the Mafia. No doubt comparisons can be made to Coppola's excellent THE GODFATHER (1972), many of these movies have a distinct flavor all their own. These movies sometimes do not feature any authority figures whatsoever, while some do (and often on the wrong side of the law). The intriguing crime thriller, IL CONSIGLIORI (THE COUNSELLOR 1973) starring Tomas Milian and Martin Balsam is one of the more blatant, but well made clones of Coppola's movie. The melancholic score by Riz Ortolani aids in the somber atmosphere of Alberto De Martino's film. Here, Milian plays a lawyer to a powerful San Franciscan Mafia boss. Having just gotten out of prison, he now wishes to leave the ways of the Mob behind him and live a life of tranquility free of the dangers and constraints of Organized Crime. However, one of the "rules" is once you're in, you can't leave. Starting a violent rivalry between Families, a series of tragic events lures Accardo (Milian) back into the criminal coterie.

Bronson tells all in THE VALACHI PAPERS (1972)

There was another Mafia film released in America that was popular, the Italian-American production of THE VALACHI PAPERS (1972). Produced by movie mogul, Dino De Laurentiis, the film starred Charles Bronson about an imprisoned man who divulges the inner workings of the Cosa Nostra. His status as a stoolie isn't without its repercussions. Apparently the production was threatened by the criminal underworld, so the film was moved from the US to Cinecitta Studios in Italy.

THE VALACHI PAPERS (1972)

Released a few months after THE GODFATHER (1972), it made money, but has nonetheless become a mostly forgotten exercise in violence, betrayal and honor among gangsters when in the company of Coppola's more widely known film. At the time, Bronson was a more viable commodity in European territories than he was in America. Initially, he turned down the role of Joe Valachi, but finally accepted when Dino De Laurentiis offered him a million dollars and a three picture deal (the other films were THE STONE KILLER, CHINO & DEATH WISH; Bronson also did THE WHITE BUFFALO for De Laurentiis in 1977) in addition to some other contractual perks.

Charles Bronson as Joe Valachi in THE VALACHI PAPERS (1972)

The 'Cosa Nostra' (or as La Cosa Nostra) was the name attributed to the Sicilian criminal culture also referred to more popularly as 'Mafia'. The various syndicates operate as a 'Family' taking care of their respective territories overseeing the myriad amount of racketeering and other assorted felonious activities. New members are subjected to stringent rituals usually involving murder in some capacity and must follow a code of conduct. The Mafia even has their own Ten Commandments that must be followed. However, just like in the movies, the Mafia of today is not "your father's Mafia" as a number of these commandments are prone to being broken. Joseph Valachi revealed the inner workings of the Mafia at Senate hearings in 1963 and formed the basis of the above mentioned Bronson picture, THE VALACHI PAPERS (1972). The novel of the same name by Peter Maas was released to the public in 1969.

Chris Mitchum in RICCO (1973)

Other Mob pictures cross the line into exploitation territory delivering very little in the way of plot, or character development settling instead for a 'Cauldron of Death' and depravity showcasing scenes of excruciating acts of violence and abundant nudity, or seedy scenes of sexual encounters. This type of violence would become a mainstay of the genre, especially popular with the cult of fans outside of Italy. Two of the more shameless entries are the awful RICCO (1973) and QUELLI CHE CONTANO (CRY OF A PROSTITUTE 1974; reviewed on this site) starring Chris Mitchum and Henry Silva respectively.

The best thing about RICCO, the talents of Barbara Bouchet

RICCO (1973) was about a young man (the title character) who avenges the death of his Mob boss father at the hands of one of his rivals. The movie, while featuring a few stand out moments, has no redeeming qualities whatsoever. Everything is terrible from the acting right down to the production values. What the film does offer is an extraordinary amount of sleaze and nastiness. Whether that's a recommendation depends on how you feel about witnessing graphic castrations and plentiful sex and a show stopping strip tease atop the hood of a car.

Henry Silva from CRY OF A PROSTITUTE (1974)

CRY OF A PROSTITUTE (1974) is far more successful in its depiction of Mafia violence. Essentially a reworking of A FISTFUL OF DOLLARS (1964) and other western conventions, it concerns a lone gangster (Henry Silva) hired to inflict chaos upon two rival crime families when their cruel methods of criminal activities stirs unrest amongst the senior syndicate members. Nearly every character is a sadistic bastard and those who aren't suffer indignities or are half crazed merely existing between the violent conflagration of gunfire being perpetrated by two callous Mafia families. The extreme violence and sexual sleaze is poured on thick in the uncut version. Both above mentioned films share one thing in common aside from being downright tasteless and that's the bodacious talents of Barbara Bouchet.

The late Peter Lee Lawrence & Erika Blanc in LONG ARM OF THE GODFATHER (1972)

THE LONG ARM OF THE GODFATHER (1972) stars Peter Lee Lawrence as a gangster (Vincenzo) who double crosses his own boss, Don Carmelo, by stealing shipments of guns to sell for profit to a gang of Arabs. Making off with his promiscuous girlfriend, Vincenzo finds himself hunted by his former boss and his men. The story is very simple and nowhere as convoluted as some other entries. The film is extremely misogynistic in its depiction of violence towards women.

Erika Blanc in peril from LONG ARM OF THE GODFATHER (1972)

If women aren't being beaten into submission or tortured, the camera lingers on them carousing or taking a shower. The gorgeous Erika Blanc plays Vincenzo's girlfriend and she doesn't mind shedding her clothes for the camera. It's an interesting movie and quite sleazy in places, but like a lot of the mafia movies, it doesn't come close to the entries from Di Leo such as MILAN CALIBER 9 (1972).

Antonio Sabato (right) in CRIME BOSS (1972)

CRIME BOSS (1972) stars Telly Savalas as the head Don who takes in Antonio Mancuso, an ambitious hoodlum played by Antonio Sabato. Mancuso harbors a vendetta against Don Vincenzo for the death of his father. He gets close to the mafioso and eventually plots his demise while romancing his niece who has her own plans for The Family. Alberto De Martino directs this rather lazy and slapdash mafia picture. It is, like IL CONSIGLIORI (1973), derivative of THE GODFATHER (1972). But unlike that film, CRIME BOSS comes off more as a cash-in than anything else. Possibly the version making the rounds is cut (the opening credits are), or better yet, damaged, as the film seems to just end leaving the impression there was some additional footage before the closing card.

Sabato & Savalas in a heated scene from CRIME BOSS (1972)

Savalas dubs himself and the other dubbers speak with an accent in an effort to sound more authentic. There is a lot of violence, but unlike De Martino's above mentioned gangster epic, it hasn't the punch nor the performances to keep it afloat. A lot of people get downed by machine gun fire, but nobody bleeds. One poor soul does get turned into soap. Savalas as Don Vincenzo seems disinterested and Sabato convinces only when he's smiling. The two seem to form a father/son relationship very quickly leaving me to wonder if the film is missing a good chunk of exposition.

CRIME BOSS (1972)

Sabato carved a niche for himself, like a lot of Italian actors, in the European western pictures before fitting comfortably into the crime genre. He also appeared in the award winning James Garner racing movie, GRAND PRIX (1966). Aside from his famous son, Sabato "enjoyed" a career in exploitation movies leading into the 1980's. Alberto De Martino directs CRIME BOSS aka I FAMILIARI DELLE VITTIME NON SARANNO AVVERTITI (RELATIVES OF VICTIMS WILL NOT BE ALERTED 1972) and he must have truly been mesmerized by Coppola's GODFATHER films. Despite having directed a number of strictly entertainment pictures, De Martino shows an often assured hand in his Mob movies whether the ideas were wholly original or not.

CONTINUED IN PART 3...

Alligator (1980) review

ALLIGATOR 1980

Robert Forster (Det. David Madison), Robin Riker (Dr. Marisa Kendall), Henry Silva (Colonel Brock), Michael Gazzo (Chief Clark), Dean Jagger (Slade), Sydney Lassick (Luke Gutchel), Perry Lang (Kelly)

Directed by Lewis Teague


A young girls father flushes her pet baby alligator down the toilet and years later, it grows to enormous size after feasting on an illegal growth hormone from a pharmaceutical company in Chicago. Killing a handful of sewer workers and others unfortunate enough to venture below the street, the outsized gator eventually erupts from the sewer and wreaks havoc throughout the city.


Former Roger Corman protege, Lewis Teague directs this excellent action-horror throwback to the much beloved creature features of the 1950's and the Nature Gone Amuck renaissance of the 1970's. With a script by John Sayles (PIRANHA, THE HOWLING, BATTLE BEYOND THE STARS), another Corman acolyte, the screenplay is peppered with various in jokes and a tone that keeps its tongue firmly in cheek. There are moments where the film is genuinely creepy and there are also times where the film evokes a laugh or two from the audience. Teague and Sayles seamlessly balance both as well as creating some memorable characters aiding immensely in the enjoyment of this cult horror classic. Sayles would soon go on to both write and direct such high profile movies such as MATEWAN (1987) and EIGHT MEN OUT (1988).


In addition to directing action films such as THE LADY IN RED (1979) and NAVY SEALS (1990), Lewis Teague also directed CUJO (1983) and CAT'S EYE (1985), both based on the works of novelist, Stephen King. Initially Teague didn't like the script for ALLIGATOR, but was enamored that the main plot point was borrowed from a supposed urban legend about New Yorkers having alligators as pets, growing bored with them and later flushing the gators down the toilet where they end up in the sewer system. John Sayles was brought on board to take over as scriptwriter.


He disliked the original story which was set in Milwaukee, Wisconsin. In that original write up, the creature grew enormous after ingesting beer that had spilled into the sewer systems from a nearby beer factory. It would seem based on that initial storyline, there was very little interest in making even a moderately serious horror movie as opposed to a straight comedy.


Robert Forster is spot on in the role of Detective David Madison. He's a tortured soul who feels responsible for the death of his partner some years prior. Because of circumstances resulting from that incident, other cops are reticent and cautious to work with him. This plot point is delved further when Madison goes into the sewer for clues surrounding the recent spate of dismemberment murders. One police officer, Kelly, feels brave enough to go with him below ground.


Of course, once they get there, the duo run into the hungry monster in one of the most tense sequences in the film. What's interesting is that Kelly is killed and Madison wakes up in a hospital and now has an even bigger burden on his shoulder. It also doesn't help that he tells the tale of a gigantic alligator that gobbled up his new partner and that this creature is responsible for the other murders.


Adding even more to Forster's character is a running gag that emerges near the beginning. Madison is battling hair loss and jokes surface from time to time much to Madison's chagrin. Forster came up with the idea for the hair gags and they were ultimately used in the finished movie. In Teague's original version, though, the hair gags were removed. Forster was a bit disappointed after seeing a cut of the then unreleased film. Fortunately, these very welcome and funny bits were soon put back in when a friend of Teague's told him they should stay in the picture. Without them, Forster's role would still be interesting, but adding this extra layer makes his very natural performance all the more rewarding.


Teague met Forster while shooting second unit for Roger Corman on a film called AVALANCHE (1978). The two became friends and Teague stated that he'd like to do a movie with Forster at some point down the road. Forster soon took a small part in Teague's THE LADY IN RED (1979), another production for Roger Corman dealing with gangster, John Dillinger.


Another scene that is right funny occurs just before Madison and Kelly make the jaunt into the depths of the sewer system. A strange man enters the police station and admits to having killed the man in the sewer. He then states he's come to blow everybody up opening his shirt to reveal his chest strapped with dynamite that's wired to explode! Going into a humorous diatribe about what he wanted to be when he grew up, Madison and Kelly manage to subdue the insane man and disengage the "explosive device" only to find out it's actually a radio! This scene seemingly has no real function in the movie, but it does as both the dynamite and timing device come into play later in the flick.


Robin Riker is a lively, jovial and perky pleasure to watch onscreen. She plays the Herpetologist, Dr. Marisa Kendall. What's most funny about her character is that the giant alligator is actually her childhood pet, Ramon. This is all seen during the opening when her dad flushes the poor alligator down the toilet setting the events to transpire into motion. Riker is a beautiful actress with mesmerizing eyes and an infectious smile. She has worked extensively in television before and since appearing in ALLIGATOR (1980) as well as a scant few movies here and there including some erotic thrillers during the 1990's.


Then there's Henry Silva as the big game hunter, Colonel Brock. He's not in the movie a great deal and one could probably say he's a bit underused, but his scenes are very memorable especially during his first scene where he's introduced to Detective Madison. The following scene is one of the funniest of the whole movie wherein Brock is being interviewed by an NBC reporter (the irony is that ALLIGATOR was a massive hit for the ABC network at the time! However, an ABC reporter is also seen onscreen at one point). In it, he describes the mating sounds of a male alligator in what is surely one of the least subtle and creative "pick up lines" seen in the movies. Silva's last scene in the movie is also memorable in which he has the giant gator cornered in a trash filled alley. Guess who wins?


According to Teague, when ALLIGATOR was ready to be released theatrically, all the studios bid on it. Curiously, producer Brandon Chase decided to hold onto the rights to the picture and distribute the film himself. Proving a very difficult task to personally distribute the film, the picture only managed a sporadic public showing. Despite receiving good critical notices, the movie failed to find an audience from lack of exposure. Eventually though, there was a light at the end of the sewer drain as the ABC Network paid Chase 3 million dollars for two airings on television.


Whereas success eluded this vigorously energetic monster movie on the big screen, it found extreme popularity on the small screen becoming the biggest moneymaking independent picture ever to be shown on television up to that time. This later prompted ABC to ask for a sequel a decade later. Robert Forster was likewise given the script for the sequel, but wisely passed on it. Furthermore, the less said about ALLIGATOR 2: THE MUTATION the better.


When it did play on television, ALLIGATOR (1980) featured at least one sequence that wasn't in the theatrical versions. This was a common practice at the time for a theatrical film to have extra scenes for television airings to make up for bits and pieces excised for questionable content. In the extra tv sequence, a woman is in her back yard hanging up clothes with her baby close by. The phone rings and she rushes into the house to answer it leaving the child unattended. An offscreen crash through a fence is heard and the alligator (also offscreen) passes by. Cut to the woman hanging up the phone as she rushes back outside only to find her back yard in shambles and her baby missing. She approaches an overturned laundry basket as the music swells. Turning it over, there hides her baby safe and sound. There's another small sequence that takes place at the beginning showing Marisa's dad trying to get the top of their convertible situated just as it begins to rain. This scene was included on television versions as well.


The gore in ALLIGATOR isn't extreme, but it's plentiful. There's a good number of scenes where victims lose various limbs, or are chewed to pieces, or even swallowed whole by the rampaging gator. One of the most shocking scenes and one that gets the most talk is one that involves the death of a small boy at a masquerade party. It's night and two boys dressed as pirates bring another little boy out to the pool. They plan to make him walk the plank. As the boy gets atop the diving board, the mother calls out his name and turns on the lights in the pool.


Just as the lights come on, the giant monster is waiting inside the pool opening his ferocious maw till his meal is pushed into the water. The clear water turns crimson as the gator devours the child. No doubt this sequence raised some eyebrows and as a kid seeing the film for the first time, it scared me half to death and along with PIRANHA (1978), was instrumental in keeping me from ever swimming in a pool at night.


Another wild sequence has the rampaging reptile trash the party being held by the seedy and devious pharmaceutical company head and his equally scheming son in law. Needless to say, the crooked characters seen during the film all get their just desserts. This bloody sequence of set destruction concludes with the monster smashing a limo to a pulp with its massive tail making a gruesome mess of those inside. The huge mechanical gator utilized for the production was very impressive, but, like Bruce the shark in JAWS (1975), it didn't work very well.


Having already been constructed before filming began some three years prior, it sat inside a warehouse and eventually disentegrated during the shoot. Another much heavier creature was constructed and proved cumbersome to move around. Miniatures of real alligators were an alternative when it proved near impossible to use the large mechanical monster for the duration of the picture. Shot in five weeks for 1.5 million, half of the movie was shot in real underground locations with the other sewer sequences being realized from several studio sets created for the production. A lot of Roger Corman's New World employees worked on the picture as well.


The ending of the film is quite exciting as Madison and Kendall pursue the gator as it makes its way back into the sewer system. The editing on the film is very good especially during this final sequence. Originally, the alligator was supposed to survive and an ending depicting the total destruction of the creature was ordered by the producer, Brandon Chase. As with the exceptional editing, the music is also successful at capturing the right mood in the best scary tradition. Some of the cues recall the main theme in JAWS (1975), while others give a slithery, slimy sense of dread whenever the huge gator is onscreen, or the threat of the creature is near. Other cues are stock library tracks that will be instantly recognizable to anyone who is a fan of the original TWILIGHT ZONE television series. These same cues can also be heard in John 'Bud' Cardos' excellent creature feature, KINGDOM OF THE SPIDERS (1977).


Many other giant alligator and crocodile movies came in the wake of ALLIGATOR. Actually, there was a horrible Thai film entitled CROCODILE from 1979 that came before Teague's film. That picture operated as an almost note for note copy of JAWS. Over the years many more similar movies popped up. Two of the best were the Aussie creature features, DARK AGE (1986) and the more recent, ROGUE (2006).


ALLIGATOR (1980) possesses a certain charm that all these other more serious giant creature horror flicks are lacking. Lewis Teague and his crew of technicians and meticulous actors created one of the best remembered and best loved horror films of all time. Containing an enormous amount of entertainment value from its performances, to the witty script, to the scares and humorous moments, ALLIGATOR is one cult classic that should not be missed.

This review is representative of the Lionsgate DVD.