| Day of the Cobra | |
|---|---|
 Italian poster forDay of the Cobra | |
| Directed by | Enzo G. Castellari |
| Screenplay by |
|
| Story by | Aldo Lado[1] |
| Produced by | Turi Vasile[1] |
| Starring | |
| Cinematography | Giovanni Bergamini[1] |
| Edited by | Gianfranco Amicucci[1] |
| Music by | Paolo Vasile |
Production company | Laser[1] |
Release date |
|
Running time | 95 minutes[1] |
| Country | Italy[1] |
| Box office | ₤489 million |
Day of the Cobra (Italian:Il giorno del Cobra) is a 1980 Italianpoliziottesco film directed byEnzo G. Castellari.
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DirectorEnzo G. Castellari initially approached Vasile with a script written by Vasile's son. The boxing film project was shelved and Vasile offered Castellari to directDay of the Cobra.[1]Day of the Cobra was written byAldo Lado who was initially going to direct the film.[1] Lado's story was initially set right afterWorld War II inTrieste.[2] Castellari's film is set in the present day and he imagined the film a "homage toChandler.[2]
Castellari cast many actors who he had previously worked with, includingFranco Nero andMassimo Vanni.[2] He also cast some of his family members such as his brotherEnio Girolami and daughter Stefania.[2]
Day of the Cobra was shot on location inSan Francisco,Genoa and at Incir-de Paolis in Rome.[1]
Day of the Cobra was released on August 12, 1980.[1] The film grossed a total of 489,000,000Italian lira on its domestic release.[1] The score of the film was by Paolo Vasile which was released byCinevox.[1]
According to the German bookDer Terror führt Regie: "Day of the Cobra is technicallypure cinema. The film suffers a bit in its pandering to American viewing habits."[3] Online film databaseAllMovie gave the film two stars out of five, stating that a "key flaw is the maddening story line, which manages to be over-complicated and half-baked all at once." and that "elements of the story simply rehash other, better thrillers, likeThe French Connection."[4] The review noted that the film contains "a few worthwhile action set pieces. The rooftop chase that opens the film is quite exciting and there is also a memorably tongue-in-cheek scene where Nero dukes it out with a transvestite in an empty disco. However, the viewer must wade through a lot of clichés and dull passages to get to these moments"[4]
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