alexanderdavies-99382 "Scorpio" is too talky and over-plotted. It becomes difficult after the opening scene to figure out what's going on and it stays that way. The action scenes are far and few between and the tedium is rampant throughout. Michael Winner's direction is almost non-existent. The running time doesn't help matters, at 15 minutes should have been edited from the final version. Burt Lancaster and Paul Schofield act well and their scenes are good. For a man of 59, Lancaster is remarkably fit and he can still perform the athletics. This film could have been better but it's a long haul.......

kosmasp The movie hasn't aged well, but it still lives with great performances by it's lead actors. The editing and pace feel a bit odd (or off) and it's not only, because it's a slow moving movie, but because some choices seem "wrong".If you can overlook those "flaws", you can surely enjoy the movie. The story is pretty complicated though and you might feel a bit confused at the ending. But this confusion can be a good thing, too. And the more I think about the ending, the more I like it. While it could have a better set-up, it still delivers and gives the movie one final punch, that will leave you surely with some sort of taste in your mouth (as the saying goes). If you like spy movies, this is essential, otherwise be aware of it's flaws and downfalls.

lost-in-limbo The 70s was when British director Michael Winner was in his prime and this taut Cold War spy thriller might be his best piece. Well definitely up there with other titles such as another Burt Lancaster feature 'Lawman (1971)' and some Charles Bronson efforts; 'Chato's Land (1971)', 'The Mechanic (1972)', 'The Stone Killer (1973)' and his influential 'Death Wish (1974)'. These are some films, and Winner's signature style streams through them. Although Winner has many detractors, but I don't really see eye to eye with it.'Scorpio' might seem customary, but on this occasion there's an old fashion tailoring to it like a thoughtful game of chess. It's a fascinatingly complex, sleek and low-key process, than anything explosive. When it's all about the narrative's cunning moves, staying one step ahead of your competitor and the skill of deception. The cynical material does come to be dry on the dramatic and emotional front, but gains intrigue in the characters and their plights. Action features very little, but when it does occur it's worthwhile. Winner's stringently alarming grip (no-frills style) is gustily suspenseful and brutal. The chase scenes and altercations are effectively pulsating (as his got an eye for ballistic action) when they come into play, due to the overall mellow pace (although time flies by) and talkative nature (with a tough, tight-lipped script) that cements itself in this cat and mouse format. This one gradually builds (just like Jerry Fielding's terrifically soaring multi-layered, hot-wire score) upon its story to deliver its disguised twists and calculative avenues. The backdrop here (largely that of the Vienna's stunningly detailed architecture setting) is caught by boldly crisp camera-work as it follows the activity with many angular angles and zooms. True Winner craftsmanship, just like his blunt inter-cutting editing, which on this project is probably his most complete. Lending greatly to the set-up is a stellar cast. Burt Lancaster is poignantly good in confidently crafty turn as CIA agent Cross that's wanted dead by his own bosses and across from him is a broodingly collected and tactical Alain Delon as the French assassin Scorpio asked to take him out. These are two characters (the dinosaur and the new blood) that respect each other. There's strong support offered by Paul Scofield, John Colicos and Gayle Hunnicutt.

will-75 It is rare nowadays to get such a good plot as this one. This film is deleted in England so I bought an American copy via Amazon - I like it so much.I won`t go into the plot simply to say that this is first rate stuff with great atmosphere.10 out of 10.