While never having quite achieved status as a classic, The Climber is a tremendous example of Italian crime cinema from the mid-70's. The film stars Joe Dallesandro (Flesh for Frankenstein, Blood for Dracula), who made quite the name for himself doing a wide variety of cult hits across a variety of genres. In this film, he plays Aldo, a small-time smuggler who gets beatened and abandoned by the local crime boss after trying to skim some profits off for himself. Determined to exact revenge, Aldo puts together a team misfits and sets out with vengeance in mind. 

Co-written and directed by Pasquale Squitieri (Gang War in Naples, I Am The Law), The Climber initially appears to have been a little bit shortchanged by the normally generous folks at Arrow Films, at least until you really start delving into the film's extras and really deeply enjoying them. While the quantity may be lower than usual, the quality is top notch. Weaving elements of organized crime films with the more traditional Italian crime thriller, The Climber is an entertaining, action-packed film with an abundance of car chases and nicely paced moments of character development featuring fine performances from Dallesandro,Stefania Casini (Suspiria), and Raymond Pellegrin (Beatrice Cenci), whose portrayal as the crime boss who betrays Aldo is riveting. 

For more information on The Climber, visit the Arrow Films website linked to in the credits. 

EXTRAS INCLUDE:

• Brand new 4K restoration of the film from the original negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original Italian soundtrack in uncompressed PCM mono with optional newly-translated English subtitles
• Alternative English-language soundtrack with optional English subtitles for the deaf and hard-of-hearing
• Little Joe’s Adventures in Europe, a brand-new interview with Joe Dallesandro on his numerous European film appearances during the 1970s and early 1980s
• Reversible sleeve with original and newly commissioned artwork by Chris Malbon

© Written by Richard Propes
The Independent Critic