This is a lousy remake of Fistfull of Dollars/Yojimbo. The film begins with a really violent and gory car accident that is edited really well. The police discover the sewn up dead body of a kid in the car and the body contains vials of cocaine.A police officer (Henry Silva) is sent to the Sicilian countryside to solve the feud (by basically killing everyone) between two families. He usually makes an entrance with a whistling tune that is quite tuneless. A good background score could have elevated this film a little bit.The film can boast of some great locales - like the streets, avenues and villas of Sicily.Barbara Bouchet is completely wasted. She plays the ex-prostitute alcoholic wife of one of the family heads. I am no male feminist and the reason I watched this film is to look at Barbara Bouchet. But she is completely demeaned in this film - there is a scene where Silva anally rapes her with her face buried in the bloody carcass of a cow! I can never forgive the director for this humiliation of one of my favorite actresses. Hence, the 3 rating. It turns out in the end that Silva has a beef with the man who sent him on the mission. The film ends rather tackily with a sermon - The eyes that cause weeping will weep someday themselves". The hands on action scenes were quite good. It is nice to watch on Blu Ray. (4.5/10)

Where do I begin? Horrendous acting, bad story, amateur directing, and some of the worst editing and cinematography in the history of movie making are the only ways to describe Cry of a Prostitute. The Godfather, this is not. Henry Silva is the lead, and he will not be compared with Brando. He is Tony, a guy who has moved to Italy from Brooklyn with some unknown score to settle. In between, we get several shootouts which result in a lot of dead bad guys. The title refers to a hooker played by Barbara Bouchet; and my two points are for Barbie's naked body; clearly the high point in this horrible film; avoid this like the plague.

The "respectable society" in Sicily isn't amused: drug-dealers have begun to use children's corpses, stuffing the bodies with heroin which they smuggle across the French-Italian border; this practice being in non-compliance with the mafia's code of honour, they suspect two rivalling Mafia clans – one being the family of local mafia boss Don Cascemi, the other by exiled Italian-American Mafiosi Ricuzzo. Not wanting to get their 'good' names involved, the mafia hires Tony Aniante, a hired hit man who has learned his trade in the US. Tony infiltrates the fighting families and, using both physical violence and psychological warfare, he get's both families to wipe each other out while at the same time settling an old score of his own.Don't make the mistake to confuse American mafia films like "The Godfather", "Goodfellas" or even "The Sopranos" to the ultra-violent subgenre of Poliziottesco; apart from the topic of organized crime, both really have very little in common. In the Americanized versions, the Mafiosi are invariable shows as corrupted yet often charismatic, honourable even amiable at times; you won't find an amiable character throughout the entire film. There's no Tony Soprano, no Sonny or Vincent Corleone, there's only Tony Aniante – and if you find any redeeming elements in this 'protagonist', well, you might consider seeking out medical advice.Henry Silva as Aniante is impressive: eyes like burning coal, features reminding us of some carrion animal, that could only be replicated with the use of special-effect (if they wouldn't happen to be Silvas features already). At first Aniante comes across like a tough guy who might harbour some decency within him (for example, in the scene where he saves the handicapped grandson of one of the clan-heads from assassination). About halfway through the film, we realize that he's nothing more than a ruthless, ice-cold psychopath, left traumatized by a violent childhood and a pathological hate for women. He rapes, beats and kills with such glee and passion, one doesn't know whether to be scared or repulsed by Aniante, who's not above crushing the bodies of two opponents whom he's just killed, with a steamroller. His form of romance consists of slamming a lonely woman unto a slaughtered cow, sodomizing her and beating her to a bloody pulp. Need I mention who becomes the new godfather of Sicily at the end of the movie? The topic 'trauma' runs through the entire film, not just through the disturbed characters but by showing us a deeply traumatized society, were everybody has their share of scares, caused by generational violence and bloodshed. "Queli che contano" doesn't show us that beautiful, jolly south of Italy, where the people do nothing else but sing, dance and drink Chianti; it shows us a barren land, scorched by the sun, where sweat-drenched shirts are a way of life and even the buildings speak of decay and degeneration.If "Queli che contano" has a message, it is that there is no "respectable society" within the mafia – just corrupted souls, ruthless criminals and even the most honourable Mafioso is still a thug, a murderer and a thief. It may well be the last movie that a Mafioso may want to see – and in case this should be my last review, please tell my wife that I love her and keep searching that bay for a guy standing inside a concrete block.Despite all the sleaze and exploitation, it's very powerful, even an authentic film that's certainly not easy to enjoy (unless you're a complete sadist), but it might well be a cure for people who tend to idolize the mafia, cossa nostra, camorra or any other organized crime organisations. I'd give it seven from ten.

Director Andrea Bianchi is probably best known for the nauseatingly brutal Zombie Gore flick "Le Notti Del Terrore" (aka. "Burial Ground", 1981) and the super-sleazy Giallo "Nude Per L'Assassino" ("Strip Nude For Your Killer", 1975), so it is not surprising that his contribution to the Italian Crime genre, "Quelli Che Contano" aka. "Cry of a Prostitute" of 1974, (which he co-directed with his brother) is one of the most brutal and misogynist films in a genre that generally isn't for the squeamish. This might be seen as a warning for the sensitive, faint-hearted and politically correct, but it definitely serves as a word of recommendation for my fellow fans of Italian Exploitation cinema from the 70s.Genre icon Henry Silva stars as Tony Aniante, a super-tough mob hit-man (who is sort of a more exaggerated double of Silva's absolute greatest role of hit-man Lanzetta in Fernando Di Leo's masterpiece "Il Boss" of 1973). The film already starts out intensely brutal when an apparent family has a fatal car crash in gory detail. The autopsy makes it clear that the kid was already dead before the crash, and just transported by mob-related drug-dealers who use children's corpses (!) as means for heroin production. Since such depraved methods are even despicable by organized crime standards, and furthermore bad for business, the dons of the Sicilian mafia assign Tony Aniante to clean up among the dirtiest of their own...The violence in this film is very intense, even by brutal Italian 70s crime standards, and the degree of political incorrectness is as high as it gets. The great Henry Silva is super-tough, super-cool and cold as ice as always; whenever he offs someone in this flick he whistles a cool tune. The man simply is the best guy ever to play mafia hit men. Period. Cult-goddess Barbara Bouchet is ravishing as always in the role of a nymphomaniac ex-prostitute turned mob-boss' wife, who enjoys getting raped and severely beaten. Fausto Tozzi plays her perverted mafia don husband, who gets off on hearing his wife talk about her extramarital activities. Between macho talk, revenge-vows and mafia conspiracies, the film features brutalities such as rape, people being beaten to a bloody pulp, decapitation and autopsies and dozens of bloody gunfights. The storyline isn't the most intriguing in Italian crime cinema, and the film has some minor logical flaws, but these are secondary to the tons of gritty and hard-boiled entertainment that it provides. Definitely one to watch for my fellow Italian Crime / Poliziotteschi fans.