In my long and numerous years as an exploitation fanatic, I've seen many weird films, but this "Redneck" is weird with a capital W. One thing's for sure, the scenario is poor and unworthy of the talents of the two lead actors, but the strange mix of cruel killings and eccentric character behavior somehow keeps you glued to the screen. The original title translates as "Without Reason" and is definitely more suitable than "Redneck". In my dictionary, a redneck still is a toothless, small-town hick, and nobody in the film fits that description. It's a compound of poliziotesschi thriller and kidnapping drama, funded by both British and Italian money and starring two international top stars (Franco "Django" Nero, Telly "Blofeld" Savalas) as well as an upcoming young talent (Mark "Oliver" Lester).

The film starts more than promising, with Nero and Savalas robbing a jewelry store in a busy city center. The heist goes awry, naturally, and they do not only end up killing the store clerk but also crash the getaway car subsequently into a hearse and a fruit & vegetable stand at the local market. They hijack a car, unaware there's a boy in the backseat. He, Lennox, turns out to be the son of a prominent diplomat, so the police and media automatically assumes it's a deliberate kidnapping for ransom. So far, this all sounds like a good and fun, albeit derivative, poliziotesschi. The plot then goes bonkers. They get separated, and Nero develops a sort of father/son bond with the kid whilst Savalas joyously pushes dead ladies in automobiles from cliffs.

The two things (actually, one thing) that make "Senza Ragione" fascinating are the multiple cruel and downright shocking murders of innocent people, and Savalas' completely surreal and unpredictable reactions to these murders! His character - Memphis - commits the vilest and cold-hearted crimes, but immediately after he sentimentally bursts into tears and shouts to the heavens that it wasn't his fault. Memphis is a very strange being altogether, who sings at the most inappropriate moments and talks with a hideous Southern accent. I also presume he's an oppressed homosexual, or at least someone struggling with a severe identity crisis. The ambiguity, and the unanswered questions, make it even more unforgivable that "Senza Ragione" contains so many dull moments, though.

An offbeat entry in the Italian crime genre that features elaborate flourishes of brilliance here and there but becomes increasingly disappointing as the story progresses. I love polizia movies and there's every reason to love this one too, from the reliable cast members to Silvio Narizzano's confident direction, but the story seems to lose focus as the running time increases and come the end there's a whimper rather than a bang.

It's a pity, because things kick off with a robbery followed by a blistering car chase which is one of the best I've seen in a long time. Once the robbers have become unwitting kidnappers, however, things really start to lose their way. The presence of the hostage would, you think, add to increased suspense and ransom demands, but none of this ever takes place and the police barely register. Instead, the plot meanders its way across the Italian countryside as Telly Savalas chews the scenery and Franco Nero contributes an oddly subdued turn.

The film's attempts to become a psychological drama fail thanks to the distractingly over the top cast members. Mark Lester's plummy British accent is an irritant to even this British viewer, while Savalas adopts a grating Southern accent (hence the title) which is truly irritating to listen to. In fact, I refuse to believe Savalas put this excruciating voice on himself and I prefer to think he's been dubbed. Nero, who gave such good value throughout his career as a leading man, is miscast as a clumsy robber and scenes like the one where he accidentally drops his gun are never believable for an instant.

An inexplicable interlude, set at night with no lighting, means that a full twenty minutes of the plot takes place in almost complete darkness and by this stage I was starting to lose my patience. Things do pick up occasionally when Savalas commits further depravities – the interlude with the German campers is a highlight – but his antics pale in comparison to the likes of Tomas Milian in ALMOST HUMAN and ASSAULT WITH A DEADLY WEAPON, where the scriptwriters and director knew how to play up their star to his full potential. In the case of REDNECK, it feels like a missed opportunity.