Stometer Save your money for something good and enjoyable

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Aspen Orson There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

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.

Catch-52 Lancaster, Delon, and Scofield are amazing in this complex, character-driven spy thriller. For some reason, Winner's direction has come in for a lot of criticism, but I thought it was superb (at least here; haven't seen any of his other works). The big action sequence is beautifully shot, edited, and staged -- I liked it far better than "The French Connection"; indeed, "Black Sunday" is the only '70s thriller I've seen with better action. It's just so realistic!The biggest flaw I can see is that the major action sequence is so exciting that all the stuff that comes after it can seem a bit dull and overextended by comparison. Still, it's good, thought-provoking material with a cynical Le Carre edge. Without spoiling the end, let's just say that whether or not you think it "works", it certainly has an emotional impact.The supporting cast (Joanne Linville, John Colicos, J.D. Cannon, Frederick Jaeger, Shmuel Rodensky, et al.) is quite good, and the script (co-written by famed TV producer David Rintels) is filled with quotable dialogue and subtle bits that illuminate the characters, as well as clever pieces of "spy business" that feel authentic (whether or not they are).Bottom line: One of the best films of its kind.

JVSanders Whereas Ian Fleming and Robert Ludlum tended toward the super-hero approach to international espionage, John Le Carre preferred it's more-realistic side: the tawdry shadow-world of betrayal, futility, and the brutal exploitation of human weakness. It looks like screenwriters Daniel W. Rintels and Gerald Wilson and director Michael Winner took a page from the Le Carre playbook when crafting this 1973 thriller.Scorpio ranks with The Spy Who Came In From The Cold and The Looking Glass War as one of the best espionage flicks ever made. Burt Lancaster displays subtle depth as a veteran CIA agent who might be turning to the other side. Alain Delon excels as the young French assassin tasked with the liquidation of his old friend and mentor. Paul Scofield, John Colicos, and a young James Sikking all turn in fine supporting performances.Scorpio is a lesser-known yet very satisfying classic from the Anti-Hero/Anti-Establishment era of the 1970's.

Filmbuff-55 The thing about spys and espionage is that there is a differencebetween good guys and bad guys. Burt Lancaster portrays aging C.I.A agent Cross who wants to leave the C.I.A to spend more time with his wife (Joanne Linville). However he has been training another mentor Jean code name "Scorpio"(Alain Delon) who is just been learning the tricks of the trade as a C.I.A assasin. C.I.A boss (John Colicos) feels that Cross knows too much and that he should be killed. He soons asks Scorpio to do the job, but he refuses. Scorpio is later arrested on phony narcotics rap and is blackmailed to do the job of eliminating Cross, so he accepts it. Cross however catches on that he is being by the watched C.I.A and the game of cat and mouse between him and Scorpio begins. He later takes refuge in with on old colleague (Paul Scofield) in Venice. Yet the question remains. Who is doublecrossing who? Who will survive the game? Who is good and who is bad? This a great film. Burt Lancaster was 59 years old and he had the ability to perform his running scenes as he is being pursued by Delon and another C.I.A hitman. He is proven to be a good actor who attributed the physical-athletic attributes in the film. Alain Delon gives a marvelous performance the man forced to hunt down and kill Lancaster. I give this film 10 out of 10**********.