Don't listen to the negative reviews

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The year was 1973. Burt Lancaster, Hollywood icon, Academy Award winner, was 60 years old. Discovered late in life, he had been in films for approximately 30 years, Later his biographers would write that, as he aged, Burt eschewed taking cheap roles in B-movies, and instead "exiled" himself to Europe. There he selectively took smaller roles in international movies that he found interesting. Scorpio, made in 73, is essentially a story about the relationship between two spies, an older and a younger, was directed by Michael Winner, himself a director with a record for both hits and flops. (Charles Bronson, for example, liked to work with Winner for his action films.) To play the younger spy, Alain Delon was cast. He too was known for his physical attributes, considered at one point one of the best-looking men on the planet. Delon had just recently played the iconic killer in Melville's unforgettable film noire – "extra noire" in this case - Samourai, and was therefore, on paper, the perfect bookend to counterpart Lancaster. Lancaster was at the stage in his astonishing career where most the mannerisms and stylings -- the big hair, the big grin, the swagger, the big gesture -- that had worked for him for so long were no longer age-appropriate. He had learned to work more subtly, and he learned well. There is a plot to Scorpio, yes indeed, but you needn't bother. It is basically about the relationship between two jungle cats when suddenly it becomes clear that the jungle is only big enough for one of them. And in fairness to the reader, let's be crystal clear that this is not Lancaster's best film (not even close!) or Winners', or even Delon's. Also, the film has a serious pacing issue, the first 2/3 is slow and plodding, whereas the last 1/3 reminds you of a transmission where the gears finally connect. In fact, a bizarre argument could be made that this is one of the few films ever made where the ending is better than the movie! No more spoilers here, bottom line, this is a non-exceptional film made just a little more interesting by the casting and the ambitions of the director. That said, if you REALLY want to see a film about two friends duking it out against a backdrop of Viennese scenery done up proper, in ribbons and bows, forget this film completely, and rent/buy/download/borrow THE THIRD MAN.

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.

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.

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**********.