Darkling_Zeist Master Touch (aka) Un Uomo Da Rispettare is what can be genuinely described as an unsung classic of poliziotto. Outside of 'Escape From Death Row' (1973) this appears to be, Michele Lupo's only foray into the grimy idiom of Italian crime cinema, and by Jove what a dashed shame, as this brisk, stylish actioner is up there with the very best. Premise is simple and stylishly handled: Steve Wallace (Kirk Douglas) is a seasoned heist expert who is encouraged to attempt a seemingly impossible blag of removing $1.000.000 from what initially appears to be an impenetrable fortress masquerading as a bank. What separates this from many other similar titles is the weathered, enigmatic presence of veteran actor, Kirk Douglas, whose roguish, insouciant exterior belies the heart of a truly exemplary, meticulous thief. As Kirk's better half the delightful, Florinda Balkan has little to do outside of sporadic brooding followed by a soupcon of crotch-expanding smolder, but her preternaturally sultry visage has improved many a euro cult offering, and 'Master Touch' benefits exponentially by her ravishing physiognomy; and the woefully underrated, Giulino Gemma excels as the nimble trapeze artist who is recruited to construct what appears to be a vacuum-tight alibi. The film's manifold delights include a destructive, hair raising, cacophonous car chase through the dank streets of Hamburg and the beautifully handled heist is a veritable Boy's own dream. It would be remiss not to mention the low key, atmospheric score by Ennio Morricone which adds a terse piquancy to all the sweaty-browed, Alpha Male theatrics.

Bezenby I didn't think this one sounded all that great, what with it being a Euro-crime film with a PG rating, but I was wrong. The Master Touch might not be as deliriously violent as, well, Violent Naples or Contraband, but it's got a certain charm to it thanks to the actors involved. Florinda Balken! Guilliano Gemma! Romano Puppo! And some unknown called Kirk Douglas, who manages to acquit himself nicely amongst those greats. Kirk is indeed a master safe breaker, just out of the jail after a three year stretch, and immediately offered another job by a mobster called Miller. Kirk's a bit torn about it (for about ten seconds) as his wife, Florinda, doesn't really want to be waiting for him to get out of jail a second time. Kirk starts preparing for a new heist in a seemingly impenetrable vault while giving Florinda the old 'I'm not up to nothing' whilst bringing under his wing trapeze artist (!) Guilliano Gemma. Gemma's got his own problems, having had a run in and a fairly mental punch up with one of Miller's goons, the late Romano Puppo, who chases Gemma all around Hamburg, out for a rematch.Kirk teaches Guillano the ropes while Florinda flounces around in a huff, and before they're all ready to go the film takes a left turn into one of the loopiest car chases I've ever witnessed. It's simply over the top Italian goodness, and starts off with yet another fairly violent punch up between Gemma and Puppo. I won't spoil it for you here, and all I'm going to say is that I watched it twice in a row. The heist is fairly tense and detailed too. Throw in a couple of twists and double crosses, and you've got yet another fine Italian crime movie, a genre they seemed to excel at.

Cristi_Ciopron Michele Lupo directed this Morricone—scored Eurothriller made after all the precepts of the art; the cast is _prima—Douglas, Gemma and Mrs. Bolkan (a '70s lean supple _cutie _hottie, in case anyone is rude enough to inquire …).Genre—wise, THE MASTER TOUCH is a very straightforward gritty caper. The regular elements of a Eurothriller are on display—streetwise characters, car—chases, fistfights (between Gemma, here a circus acrobat, and his nemesis). A good caper functions on the diversity of the crooks involved—e.g., Gabin and Delon; or, Pitt, Clooney, etc.; or, here, Douglas and Gemma.The score is scarce but very atmospheric—dramatic and creepy, enhancing the suspense. This chilling music is, as mentioned previously, Morricone's.The denouement scene on the waterfront is both exciting, awesome, and iconic, coining some iconic frames for all three protagonists—Douglas, deceived; Gemma, scared; and Mrs. Bolkan, so cool, a genuine noir woman. The names allude to Douglas playing an American, and Mrs. Bolkan, a Hispanic babe, though the action is set in Germany.Gemma was, of course, a '70s Italian (anachronistic) cross between a Pitt and a Willis—anyway, smoother than Willis and less talented than Pitt ….Pals, if you are as addicted to Eurothrillers as I believe you are, then there's no further need to add that these flicks are distinguished by a singular gritty sharpness, their melodrama is sharp and singularly appealing. I have done a few entries here on this genre—movies with Nero, Delon ….

amikelhenry It surprises me that for my 1st review, I would be moved to write a piece on this movie. I bought it for $1.99 at the local DVD store just because of the cover featuring Kirk Douglas as the star. What moved him to do this movie at this stage of his career would be interesting to know. In any event, I really enjoyed this movie a great deal. It had a car chase that rivals two of my favorites of all time in Bullit and the French Connection. It had the most realistic fight scenes I can remember seeing. The heist was elaborately thought out befitting the USA title of The Master Touch. It had a great twist at the end. A very good musical score composed by one of my favorites of all time by Ennino Moricone. Finally, It even had what I felt was a moral message to pass on at the end. Unfortunately, it also had a couple of big negatives that would perhaps bother a number of viewers. The quality of the DVD transfer is poor. Also, except for Kirk, the performer's lines are dubbed in English.All in all however, I enjoyed this movie tremendously and feel like I uncovered an unknown gem which for movie lovers provides a great satisfaction in itself.