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what is arguably his last film, Anthony Quinn gives a rather raspy portrayal of Mafia chieftain Angelo, who extracts a promise from his guard friend and surrogate son Frank (Stallone): to take care of his daughter Jennifer (Stowe). To protect her from becoming a victim of rival Mob violence, she has been brought up by a Long Island couple under a total secret shield. When Angelo gets whacked, Frank lands on Jennifer’s doorstep to give her a crash course in family history.
With Angelo and his enemies fighting for control, the socialite’s ex-husband is just one of the narcissi she battles. Moreover, Jennifer is also an unimpressed half of her heritage as well as her bodyguard. However, after Frank inadvertently puts her on the mobster’s enemies’ hit list, protection becomes crucial. At a performance of the opera, Jennifer begins to warm to the notion of vendetta.
As Aldis and Mackall’s script shifts into full, ridiculous territory, Frank now lets Jennifer take charge of the mob and armed only with uplift bra and killer lipstick.
Instead of noticing her appearance, consider Stowe’s emotional inclinations. Stowe is unable to function normally when using her charms on an ancient crime laisser-faire. This means she is fundamentally and deeply off-key. An example is a mobster getting married in a spontaneous wedding followed by jerking of a heart attack at his wife’s wear-off from sexy lingerie shimmy.
Neither seems to be very much attracted to one another apart from the growing camaraderie between the already existing two. The romance simply walks into the picture in a rather mechanical such boring manner. However, we can see that Jennifer tours Italy with the smoldering Sicilian romance novel author Marcello (Raoul Bova), which does not sit well with Frank. Angelo’s comment serves as a primer which brings Frank to the understanding that not everything is that simple and that once again Jennifer is in trouble.
The two seem to be starring in various movies. Unless he is feeding the audience his signature sullen appeal devoid of any depth, stoic demeanor, loyalty and his love for cooking, Stallone is yet to exhibit a shred of character. Stowe is having difficulty comprehending that it’s a screwball farce with some delightfully amusing scenes. Despite her attempts, Stowe is fundamentally inappropriate for the role.
While Martyn Burke’s boring direction and the movie’s typical style do help, the main issue is an exceptionally poor screenplay that does not build any of the main character’s development, even attempting to sustain any focus on romance, action, or revenge. The comedy is just as unbalanced, even dipping into crude humor with a scene featuring a farting mobster.
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