Do hit men have a code of ethics? It might seem like a bit of an oxymoron to have hit men and ethics in the same sentence but in most movies about organized crime like The Godfather, The Public Enemy or Scarface, there does seem to be some sort of moral code observed among the rank and file of thugdom, regardless of how hypocritical it may seem. Rarely though do we see crime thrillers where hit men have philosophical discussions about their work and Hail, Mafia (1965) is not only fascinating for this reason but it’s also a criminally overlooked little B-movie. Taut, suspenseful, oddly funny at times and a road movie of sorts, the European produced movie stars Henry Silva and Jack Klugman as ill-matched assassins on a journey to silence their target, an expatriate American (Eddie Constantine) living in France.
Imagine a science-fiction influenced spy thriller about humanoid assassins directed by Jess Franco with a screenplay adaptation by Jean-Claude Carrière (a frequent collaborator with Luis Bunuel), a cool jazz score by Paul Misraki (Alphaville, Le Doulos, Les Cousins) and an international cast featuring Eddie Constantine, Fernando Rey and Francoise Brion. It sounds like a film buff’s fever dream but it actually exists. Released in 1966 during the height of the James Bond craze, Cartes sur table aka Attack of the Robots is a stylish and amusing entertainment that takes a standard world domination-by-madman scenario and infuses it with a cheeky sense of humor. The film will come as a surprise to those who only associate Jess Franco with Eurotrash favorites like 99 Women (1969), Vampyros Lesbos (1971) and Wanda, the Wicked Warden (1977).