Based on the book Wiseguy by Nicholas Pileggi, Goodfellas is the story of mob associate Henry Hill who is part of a crew as they would rise high and later fall low once he gets himself in trouble and become a target by his own crew. Directed by Martin Scorsese and screenplay by Scorsese and Pileggi, the film is a dramatization of Hill’s life as he lived a life of luxury as part of the mob while watching his world fall apart through his own faults and everything else as he is portrayed by Ray Liotta. Also starring Robert de Niro, Joe Pesci, Lorraine Bracco, and Paul Sorvino. Goodfellas is an exhilarating and wild film from Martin Scorsese.
Spanning nearly three decades, the film follows the life of a young man who becomes an associate for a mob boss doing small things and later rising up the ranks as a wise guy where he gets involved with a lot of things and live a nice life only to fall big through his own faults and other activities. It’s a film with a simple rise-and-fall scenario from screenwriters Martin Scorsese and Nicholas Pileggi where Henry Hill was this teenager who is fascinated by the local mob in his neighborhood as he offers to help them and manages to win their respect and trust. The script is largely told from Hill’s perspective as he worked for the mob boss Paulie Cicero (Paul Sorvino) and later befriends a truck hijacker in Jimmy Conway (Robert de Niro) and a fellow juvenile delinquent in Tommy DeVito (Joe Pesci). The first act is about Hill’s young life as he would befriend Cicero and become part of his crew doing small favors and such where he would meet Conway and DeVito. It is also the moment he meets Karen (Lorraine Bracco) would become his wife as she would also have some voice-over narration as it relates to her experience being the wife of a wise guy.
The film’s second act begins in 1970 as it relates to a violent encounter with the Gambino family member Billy Batts (Frank Vincent) over an insult he made towards DeVito. It would lead to all sorts of things relating to Hill’s own affairs with other women, a brief incarceration in prison during the 70s, the Lufthansa vault heist that was organized by Morrie Kessler (Chuck Low), and drugs. It all play into this lifestyle of getting whatever you want and be given special privileges that allow them to get away with what they want but also manage to get some things in prison that would make their stay more comfortable. The second act both begins and ends with a major death as it would lead to this third act that is the fall of Hill and his friends. Notably as it play into the severity of Hill’s drug problems and other aspects in the business that would eventually get him in trouble.
Martin Scorsese’s direction definitely has a flair for style from the opening credits sequence designed by Saul Bass as well as the way the film opens with Hill, Conway, and DeVito driving onto a highway as they hear something bumping in the trunk as it would relate to an incident during the film’s second act. Much of the film is shot on various locations in New York, New Jersey, and parts of Long Island in New York as it play into this culture of Italian-Americans, Irish-Americans, and Jewish-Italian Americans who are part of this world that is working-class but these wise guys live a life that can get them whatever they want. There are some wide shots that Scorsese would use to get a scope of the locations yet much of his direction emphasizes on close-ups and medium shots. Even as Scorsese would use these intricate tracking shots to play into some locations such as a nightclub along with some stylistic shots that play into the violence and drama. Scorsese also infuse elements of humor as it relates to DeVito and the stories he tells as well as his own violent outbursts after he shoots someone who wouldn’t take shit from him.
The Billy Batts scene is one filled with dark humor and some confrontational dialogue that would be followed by a comical moment at the home of DeVito’s mother (Catherine Scorsese) as she, her son, Conway, and Hill eat breakfast as it play into Scorsese’s offbeat tone as Scorsese would focus some attention on the car knowing something is up. The scenes of decadence and excess are heightened that includes this fiery sequence early in the third act where Hill’s cocaine addiction finally catches up with him as he believes someone is watching him with shots of helicopters and all sorts of things. Scorsese also play into this sense of drama that looms during the third act as well as some moments late in the second act that relates to Lufthansa and the players involved where there is a melancholia that would be prominent into its third act and what happens in the end. Overall, Scorsese creates a riveting yet outrageous film about the life of a mob hood and the craziness he endures as part of a crew.
Cinematographer Michael Ballhaus does brilliant work with the film’s cinematography where Ballhaus maintains a straightforward look for many of the daytime exterior scenes along with some stylish lights for some scenes set at night. Editor Thelma Schoonmaker does incredible work with the editing with its stylish usage of freeze-frames, slow-motion shots, jump-cuts, and other stylistic editing techniques as it help play into the action and suspense as it is one of the film’s major highlights. Production designer Kristi Zea, with set decorator Leslie Bloom and art director Maher Ahmad, does excellent work with the look of the homes that Hill lived in as well as the homes of friends and the places he, Conway, and DeVito go to as well as the prison cell he and Cicero shared.
Costume designer Richard Bruno does fantastic work with the costumes from the stylish suits the men wear as well as the clothes and fur coats the women wear to play into the evolving period of the times. Sound editor Skip Lievsay does amazing work with the sound in the way sound effects are presented as well as gunfire, the atmosphere of a club or a restaurant, and other textures as it play into the suspense and drama as it’s a highlight of the film. The film’s tremendous music soundtrack is a highlight of the film as it help play into the evolving period of the times as well as some of the craziness that occurs as it features contributions from Tony Bennett, the Moonglows, the Cadillacs, Billy Ward and His Dominoes, the Chantels, the Harptones, Otis Williams and the Charms, Mina, Johnny Mathis, Aretha Franklin, Bobby Darin, the Rolling Stones, Harry Nilsson, Derek and the Dominos, Muddy Waters, Cream, the Shangri-Las, Bobby Vinton, Betty Curtis, the Crystals, Dean Martin, Donovan, the Who, George Harrison, and Sid Vicious.
The casting by Ellen Lewis is great as it feature some notable small roles and appearances from Tony Sirico as a member of Cicero’s gang in Tony Stacks, Michael Imperioli as a young man handing out drinks during a poker game in Spider, Mike Starr as a trucker friend of Conway in Frenchy, Frank Sivero as an associate of Conway in Frankie Carbone, Samuel L. Jackson as a musician/trucker named Stacks who was part of the Lufthansa heist, Catherine Scorsese as DeVito’s mother, Charles Scorsese as one of Cicero’s cellmates in Vinnie who likes to put a lot of onions in the tomato sauce, Gina Mastrogiacomo as one of Hill’s mistresses in Janice Rossi, Welker White as the Hills’ babysitter Lois who also does drug deal for them, Debi Mazar as another of Hill’s mistress in Sandy who would help him with the cocaine, Illeana Douglas as a mob girlfriend in Rosie, Joseph D’Onofrio as the young Tommy, Christopher Sirrone as the young Henry, Margo Winkler as Morrie’s wife, Vincent Pastore as a coatrack man, Kevin Corrigan as Henry’s younger brother Michael, and Chuck Low as the salesman Morrie Kessler who helps organize the Lufthansa heist.
Frank Vincent is brilliant in his one-scene performance as Billy Batts as a revered mob figure who insults DeVito at a bar on the night he returns to Jersey as he is just trying to have fun and relax. Paul Sorvino is fantastic as Paulie Cicero as a mob boss who is trying to run his crew as he also ensures that Hill gets his shit together while they also share a prison cell together while disapproving about Hill’s fascination with drugs. Lorraine Bracco is excellent as Karen as Hill’s wife who meets him at a blind date and then confronts him when he stands her up for a second date as she becomes bewildered by the mob culture yet also enjoys the lifestyle and its perks only to realize the dangers of the lifestyle that includes a terrible cocaine addiction.
Joe Pesci is marvelous as Tommy DeVito as a fast-talking, confrontational mob figure who says a lot of shit but has a short fuse where he can get really violent as it’s Pesci being extremely funny but also scary at times as it’s really one of his most iconic performances. Robert de Niro is remarkable as Jimmy Conway as a mob hood who works for Cicero yet is someone who can get things done and make more money while running small operations including the Lufthansa heist as he helped run that heist and ensure that no one gets way over their heads with the success of the heist. Finally, there’s Ray Liotta in a phenomenal performance as Henry Hill as a Jewish-Italian man who becomes fascinated by the world of the wise guys as a kid as he later becomes a man that gets things done but never kills anyone yet doesn’t mind giving someone beatings or live a good life only to endure a terrible cocaine addiction as it’s Liotta displaying a ferocity and vulnerability as a man who puts himself and his family in great danger only to realize what he must do to save himself but a terrible price.
Goodfellas is a magnificent film from Martin Scorsese. Featuring a great ensemble cast, a compelling rise-and-fall story, striking visuals, top-notch editing, and gripping music soundtrack. It's a film that explores the life of a mob hood trying to live a lifestyle of excess and vast riches only to get caught up in some bad shit as it’s told in an offbeat yet exhilarating fashion. In the end, Goodfellas is an outstanding film from Martin Scorsese.
Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – Boxcar Bertha - (Mean Streets) – Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Cape Fear (1991 film) - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) – The Silence (2016 film) - (The Irishman (2019 film)) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2019
Directed by Richard Donner and screenplay by Channing Gibson from a story by Alfred Gough, Jonathan Lemkin, and Miles Millar, Lethal Weapon 4 is the story of Martin Riggs and Roger Murtaugh leading an investigation into a Chinese smuggling ring involving slave laborers and other things involving triad gangs. The fourth and final film of the series has Riggs and Murtaugh not only deal with personal changes in their life but also aging as it’s finally catching up with Riggs as Mel Gibson and Danny Glover reprise their roles as Riggs and Murtaugh, respectively, while being joined by series regulars Joe Pesci, Rene Russo, Darlene Love, Traci Wolfe, Damon Hines, Ebonie Smith, Mary Ellen Trainor, and Steve Kahan. Also starring Chris Rock, Kim Chan, Eddy Ko, Calvin Jung, and Jet Li. Lethal Weapon 4 is a good though very messy film from Richard Donner.
The fourth film has Martin Riggs and Roger Murtaugh not only get promoted as captains due to a technicality over the years of chaos and destruction the two caused as they lead an investigation into a Chinese criminal syndicate involving slave labor and smuggling. During their investigation into the world of Chinese triad gangs, Riggs and Murtaugh also endure some changes in their personal life as the former learns he is going to be a father while the latter is going to be a grandfather. While Murtaugh tries to find out who is the father of his new grandchild that only Riggs, Lorna Cole (Rene Russo), and Murtaugh’s family know, Riggs ponders about being a father as well as marrying Lorna as he wonders if it will dishonor the union he previously had with his first wife a long time ago. Yet, the two are joined by Detective Lee Butters (Chris Rock) in the case with help from friend Leo Getz (Joe Pesci) who has become a private detective in uncovering this Chinese smuggling ring as they deal with a ruthless triad negotiator in Wah Sing Ku (Jet Li).
The film’s screenplay retains many elements of the first three films that were very lively and fun yet it lacks substance where it wants to be funny as well as be an action film. There’s no balance to the script which really hurts the story while some of the humor at times can get meandering such a scene where Butters and Getz complain about cell phones that goes on for too long. It’s among the issues that the film has as well as gags about some of the extra money that Murtaugh has been carrying which Riggs has been asking about. Still, there’s aspects of the script that is compelling such as Riggs’ anxiety about having a family as well as the fact that he is getting older which makes him insecure about his duties as a cop. With Murtaugh there for him, Riggs copes with these changes as he also helps Murtaugh cope with becoming a grandfather. There’s also a subplot where Murtaugh finds a Chinese family whom he takes in as he feels like he’s making a difference. All of which leads to this showdown between the LAPD and this Chinese triad organization.
Richard Donner’s direction is quite frenetic in terms of its action sequences as it opens with this rainy scene where Riggs and Murtaugh try to subdue a pyromaniac. It all plays into the sense of elaborate approach to action with doses of humor as it’s clear that Donner wants to kick the film off with a bang. While Donner wants to maintain that balance between humor, action, and suspense in his compositions and set pieces, he doesn’t succeed entirely due to the messiness of the script. Though many of the shots he creates doesn’t do anything new, some of it does feel uninspired where Donner wants to put more humor where it tends to drag the film at times. Still, there’s elements of the film that are engaging such as Murtaugh bonding with a Chinese man whose family he took in as well as Riggs dealing with the expectations of fatherhood and being there for Lorna who occasionally helps out in the investigation. Yet, Riggs and Murtaugh have to do whatever to protect those they care about in a very sprawling climax involving gunfights and kung fu as it shows that if they’re going to do something stupid. They’ll do it together and do it with style. Overall, Donner creates an enjoyable though overly familiar film about two guys leading the way to face off a Chinese criminal organization.
Cinematographer Andrzej Bartkowiak does excellent work with the look of the nighttime exterior scenes such as the opening sequence while taking the advantage to use stylish lighting schemes for some of its interiors. Editors Frank J. Uroste, Dallas Puett, Kevin Stitt, and Eric Strand do nice work with the editing as it‘s straightforward in terms of its fast-paced cutting approach to action while slowing things down for the suspenseful moments of the film. Production designer J. Michael Riva, with art directors David F. Klassen and Richard F. Mays and set decorator Lauri Gaffin, does fantastic work with the renovated looks of Riggs‘ trailer home and Murtaugh‘s home as well as the Chinese restaurants in Chinatown.
Costume designer Ha Nguyen does terrific work with the costumes as it‘s mostly casual with the exception of the clothes that Ku wears that is more traditional Chinese gear to display his ferocity. Visual effects supervisor Michael L. Fink does wonderful work with the minimal visual effects which involves much of the film‘s action sequences including the opening scene. Sound designer John Pospisll, along with sound editors Mark A. Mangini and George Simpson, does superb work with the layers of sound from the waves of explosions and fisticuffs as well as the layers of gunfire and things that occur in the different locations of the film. The film’s music by Eric Clapton, Michael Kamen, and David Sanborn is pretty good for its mixture of blues, orchestral, and jazz to play into some humor and suspense along with some blues-based cuts by Clapton while the film‘s soundtrack features songs from War and Van Halen with vocals by Gary Cherone.
The casting by Marion Dougherty is brilliant as it features notable small roles from Conan Lee as a triad leader that Ku wants to free, Eddy Ko as a man named Hong that Murtaugh meets as he takes him and his family to his home, Kim Chan in a hilarious performance as a triad boss named Uncle Benny, Calvin Jung as a detective who knows a lot about the Chinese world and their tactics, Ebonie Smith and Damon Hine in their respective roles as Murtaugh’s younger children Carrie and Nick, Traci Wolfe as Murtaugh’s eldest daughter Rianne who is pregnant, and Mary Ellen Trainor as Dr. Stephanie Woods whom Riggs decides to harass in a humorous manner after she refuses to help him. Steve Kahan is terrific as Captain Murphy who would promote Riggs and Murtaugh to captains in the hope they can do less damage and lead the investigation due to insurance reasons. Darlene Love is excellent as Murtaugh’s wife who would help Lorna and Rianne with their pregnancies as well as deal with the Chinese family that is staying with them as she raises question about all the money she and her husband have been giving away.
Rene Russo is superb as Lorna Cole as Riggs’ girlfriend as she ponders if he will marry her as she begins to embrace the idea of motherhood while helping Riggs and Murtaugh with bits on the case. Jet Li is fantastic as the ruthless Triad negotiator Wu who is a true master of kung fu as he proves to be a very challenging opponent for everyone involved. Chris Rock is pretty good as Detective Lee Butters who aids Riggs and Murtaugh in the case as he provides some funny moments while making Murtaugh uncomfortable in how affectionate he is towards him suggesting that Butters is gay. Joe Pesci is wonderful as Leo Getz as a longtime friend turned private detective who also help out in finding clues while being put into some very dangerous and funny situations. Finally, there’s Mel Gibson and Danny Glover in amazing performances in their respective roles as Martin Riggs and Roger Murtaugh as two men who not only cope with old age but also personal changes in their lives as they try to take down a Chinese criminal organization in the only way they can which is through mayhem.
Lethal Weapon 4 is an entertaining yet flawed film from Richard Donner that features excellent performances from Mel Gibson and Danny Glovers. Along with a strong supporting cast that features Jet Li in his American film debut, it’s a film that has things that made audiences love those character though the story is lacking in times in terms of creating a tighter story as it ends up being more of a comedy than an action film. In the end, Lethal Weapon 4 is a worthwhile yet messy film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and screenplay by Jeffrey Boam and Robert Mark Kamen from a story by Boam, Lethal Weapon 3 is the third film of the film series where Martin Riggs and Roger Murtaugh team up with an internal affairs officer in pursuit of a former LAPD detective who has turned into an arms dealer. The film has Riggs and Murtaugh not only deal with a former cop who is selling guns to young men but also for the fact that the latter is retiring as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh while being joined by franchise regulars Joe Pesci, Darlene Love, Traci Wolfe, Damon Hines, Ebonie Smith, Jack McGee, Mary Ellen Trainor, and Steve Kahan reprising their roles from previous films. Also starring Rene Russo, Gregory Millar, and Stuart Wilson as Jack Travis. Lethal Weapon 3 is a sensational film from Richard Donner.
The film has Martin Riggs and Roger Murtaugh not only deal with a former cop who has become an illegal arms dealer to fund his own real estate venture as they’re joined by an internal affairs officer who is investigating the case. Meanwhile, Murtaugh is set to retire in less than a week as he isn’t just coping with the need to retire but is also confronted with the severity of his case which involves armor-piercing bullets known as “cop-killers”. Teaming up with the internal affairs officer Lorna Cole (Rene Russo) and getting help from friend Leo Getz (Joe Pesci), Riggs and Murtaugh not only take on the case but also deal with how intense it is as their antagonist is Jack Travis who is a man that knows every police code and how to get around them. Yet, he is driven by greed and chaos as he used to be one of the good guys only to be so corrupt that he was kicked out of the force.
The film’s screenplay, which features additional contributions from Carrie Fisher, doesn’t just explore these two cops trying to uncover this case of illegal arms dealing but also for the fact that young African-American men are the ones who are buying these guns. Even as Murtaugh would shoot a young man with one of those guys who is revealed to be one of his son’s friends as he becomes consumed with guilt as he would withdraw himself from everyone including his own family. This would force Riggs to continue the investigation with Cole for a while as the two develop a rapport with one another over their love of violence and the Three Stooges. Once Riggs gets Murtaugh back in the game as he reveals how Murtaugh’s retirement affects Riggs, it becomes clear how special this partnership is as Riggs knows Murtaugh is teetering on the edge as he would protect him.
By the film’s second half, Murtaugh starts to display a bit of craziness as his grief becomes the driving force to confront those who had been dealing weapons as it would lead to some discoveries about Travis’ real-estate ventures as they seek Getz’s help. Getz’s appearance in the film definitely adds a lot of humor as he has reinvented himself as a real estate dealer as he tries to sell Murtaugh’s house while he is someone that can get connections about Travis’ line of work which does lead to this explosive third act where Riggs, Murtaugh, and Cole confront Travis and his men not only to save their friends in the police force but also stop Travis from killing men on the force.
Richard Donner’s direction starts off with a bang where Riggs and Murtaugh try to defuse a bomb only to make things worse as it plays to that mix of action and humor. Especially as it takes place in the span of more than a week as Murtaugh is spending his final days as a detective until he retires. Much of the compositions are simple as Donner keeps much of the humor light-hearted and natural for gags such as Riggs trying to quit smoking or Murtaugh dealing with an admirer he met during a chase. Still, there is a balance to the humor and action in the way Donner plays out as well as some light-hearted moments where Riggs is definitely part of Murtaugh’s family as he would be the one to find Murtaugh at his lowest as it’s one of the most powerful moments of the film.
The direction is also sprawling in terms of the action set pieces from the opening sequence of a bomb destroying a building to some chase scenes. Notably a chase scene in the third act where Riggs and Murtaugh save Captain Murphy from Travis as Riggs borrows a motorcycle to chase Travis and one of his goons onto an unfinished highway. All of which leads to this very violent and elaborate climax that shows why Riggs and Murtaugh are the last two cops that should be messed with. Add Cole to the mix and there is more trouble as she is a total ass-kicker as the result is an explosive climax that also includes bits of humor. Overall, Donner creates a very exciting and funny film about two detectives who are joined by an internal affairs officer in taking down a former cop who has gone bad.
Cinematographer Jan de Bont does excellent work with the cinematography to capture the sunny look of the scenes set in Los Angeles including the nighttime climax scene with its use of fire and elaborate lights. Editors Robert Brown and Battle Davis do brilliant work with the editing with its use of rhythmic cuts to play into the action and suspense including the chase scenes as well as some of the film‘s funnier moments. Production designer James H. Spencer, with set decorator Richard C. Goddard and art director Greg Papalia, does fantastic work with the look of Murtaugh‘s home as well as Riggs‘ trailer home in a renovated state as well as some of the places such as the precinct where Riggs and Murtaugh work at.
Sound editor Robert G. Henderson does nice work with the sound to play into the sense of chaos that goes in the gunfights as well as some scenes set in the Los Angeles subways and at a hockey game. The film’s music by Eric Clapton, Michael Kamen, and David Sanborn is superb as its mixtures of blues, orchestral music, and jazz play into the air of suspense and action as well as some humor that includes variations of the Three Stooges theme while the soundtrack features songs by Sting and Elton John.
The casting by Marion Dougherty is incredible as it features notable small roles from Andrew Hill Newman as a jaywalker Riggs and Murtaugh harass, Gregory Millar as an associate of Travis in Tyrone, Nick Chinlund as an arms dealer working for Travis, Jason Rainwater as a young rookie cop that would help in saving Captain Murphy, Mark Pellegrino as an associate of Travis who gets arrested early in the film, Bobby Wynn as Nick’s friend Darryl, Jack McGee reprising his role as the carpenter from the previous film as he helps Riggs renovate his home, Delores Hall as the bank security driver who is attracted to Murtaugh, and Mary Ellen Trainor as the police psychiatrist Dr. Stephanie Woods who keeps asking Murtaugh to come see her in a very awkward moment with him and Riggs.
Ebonie Smith and Damon Hines are terrific in their respective roles as Carrie and Nick Murtaugh who are hoping for the dad would retire while Traci Wolfe is wonderful as the eldest daughter Rianne who is trying to make it as an actress as she asked Riggs to find her dad when he didn’t come home over the shooting of Darryl. Darlene Love is excellent as Murtaugh’s wife Trish who is anxious about her husband’s impending retirement as, in the extended cut of the film, has him not forget his bulletproof vest while asking Riggs to keep her husband out of trouble. Steve Kahan is superb as Captain Murphy who knew Travis when he was once a cop as he is later captured by Travis in order to get access to some weapons. Stuart Wilson is fantastic as Jack Travis as this former cop who has become an arms dealer in order to fund his own real estate ventures as he is a really fun and sly antagonist.
Rene Russo is great as Lorna Cole as this internal affairs officer who leads the investigation over what Travis is doing as she proves to be an absolute ass-kicker who doesn’t take shit from anyone making Riggs fall for her. Joe Pesci is brilliant as Leo Getz as he brings in that great sense of humor as he tries to help Murtaugh sell his house while aiding them in finding clues relating to the case. Finally, there’s Mel Gibson and Danny Glover in marvelous performances in their respective roles as Martin Riggs and Roger Murtaugh as the two maintain that sense of chemistry of mayhem and hilarity while also showing their vulnerable side during an intense moment involving a grief-stricken Murtaugh. Even as the two switch personas for a bit where Murtaugh gets a bit crazy and Riggs being the straight man as Gibson also displays a lot of humor in his performance that includes a very funny scene where he tries to win over a guard dog by acting like a dog.
Lethal Weapon 3 is a remarkable film from Richard Donner that features thrilling performances from Mel Gibson and Danny Glover plus strong supporting performances from Rene Russo, Joe Pesci, and Stuart Wilson. The film isn’t just one of the finest action blockbusters of the 1990s but also one of the funniest. It’s a film that has something for everyone while also having something for the smart audiences as well as audiences that want some excitement. In the end, Lethal Weapon 3 is a phenomenal film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and screenplay by Jeffrey Boam from a story by Shane Black and Warren Murphy, Lethal Weapon 2 is the follow-up to the previous film from 1987 where Martin Riggs and Roger Murtaugh who are tasked to protect a federal witness who is involved with a smuggling operation from South African dealers who are protected by diplomatic immunity. The film is another mixture of action with buddy comedies as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh as they‘re joined by Darlene Love, Traci Wolfe, Mary Ellen Trainor, Damon Hines, Ebonie Smith, and Steve Kahan who all reprise their roles from the previous film. Also starring Joe Pesci, Patsy Kensit, Derrick O’Connor, and Joss Ackland. Lethal Weapon 2 is an explosive and enthralling film from Richard Donner.
When a group of South African dealers catch the attention of Martin Riggs and Roger Murtaugh and the rest of the LAPD, what happens becomes a war between good and bad in a film where these two men try to do whatever to get these men despite their protection under diplomatic immunity. Once they are reassigned to protect an obnoxious federal witness in Leo Getz (Joe Pesci) who is connected to this smuggling case involving these South African government officials led by this consulate. Riggs and Murtaugh do whatever to nab these men and find evidence that can allow them to be tried under American jurisdiction but complications ensue once these men make the war with the LAPD very personal which only push Riggs and Murtaugh to the edge.
The film’s screenplay definitely shows these two mismatched partners not only becoming closer and bring out the best in each other but also give them a chance to have an element of balance into their different personalities. Especially as Riggs often goes to Murtaugh’s home where he reveals to Murtaugh’s wife Trish (Darlene Love) about his wife’s death years ago which shows Riggs opening up more to Murtaugh and his family. Upon getting assigned to protect Getz, the element of comedy starts to get more into play where Riggs and Murtaugh find a foil in the often irritating Getz who is this accountant that always curse and complain about things as he also knows a lot as he proves to be a vital asset to Riggs and Murtaugh in their case.
The antagonist in these South African smugglers and criminals led by this consul-general named Arjen Rudd are men who are driven by money and power as they transport illegal currency to apartheid-era South Africa. Even as the case would have revelations about Riggs’ own past in laundering money for smugglers which he wasn’t proud of as it played into his decisions to join the police force. Rudd and his men not only use devious tactics to intimidate Riggs and Murtaugh where they would break-in the latter’s home to scare him and his family. Even the rest of the LAPD get pushed to the breaking point as Riggs and Murtaugh’s superior Captain Murphy (Steve Kahan) wants to go after them but various jurisdiction issues prevent them from doing what is right. Once the film’s third act had the LAPD pushed to the breaking point where both Riggs and Murtaugh realize that these men don’t respect the law. The two would do whatever it takes to carry out their own brand of justice.
Richard Donner’s direction is quite extravagant in terms of action sequences and the fact that he has something to say about the idea of apartheid. Even where he would put some humor such as a scene where Murtaugh and Getz enter the South African consulate embassy where they would harass officials in order to get Riggs to antagonize and confront Rudd and his men. While much of the humorous moments are shot in intimate manners as it would include some very funny gags such as reaction to Murtaugh’s daughter Rianne (Traci Wolfe) making her acting debut in a condom commercial. It is balanced by this air of suspense and action that plays out in the film where it adds to the stakes of what Riggs and Murtaugh have to deal with.
The action sequences are very explosive that includes this montage where Rudd’s men do horrific things to try and wipe out the LAPD as there’s some dark elements that play into the drama. Even as Getz becomes a target which adds to Riggs and Murtaugh to take the law into their own hands where it’s third act features some of the most elaborate sequences ever created. Presented in a wide shot with some unique camera angles, it is definitely a highlight that would be followed by a major climax as it reveals that diplomatic immunity or not. One must never ever fuck with Riggs and Murtaugh. Overall, Donner creates a very thrilling and compelling film about two guys going up against a group of politically-racist criminals.
Cinematographer Stephen Goldblatt does excellent work with the cinematography from the usage of lights for many of the scenes set at night to the array of interior lights for the cold offices that Rudd works at. Editor Stuart Baird does brilliant work with the editing from the fast-paced cuts of the opening chase sequence to the slower moments for its humor and suspense. Production designer J. Michael Riva, with art directors Richard Berger and Virginia L. Randolph and set decorator Marvin March, does amazing work with the set design from the look of Rudd‘s home as well as the office he has in the South African embassy.
Sound editor Robert G. Henderson does superb work with the sound from the layer of sounds of gunfire and explosions to the quieter moments involving conversations and in some of the film‘s humor. The film’s music by Michael Kamen, Eric Clapton, and David Sanborn is fantastic for its mixture of orchestral bombast courtesy of Kamen to the sound of blues and jazz from Clapton and Sanborn to play into the humor and drama while the soundtrack features a cover of Bob Dylan‘s Knockin‘ on Heaven‘s Door by Clapton, Sanborn, and Randy Crawford and songs by the Beach Boys and George Harrison.
The casting by Marion Dougherty and Gail Levin is great as it features notable small roles from Jack McGee as a carpenter fixing Murtaugh‘s home, Dean Norris and Jenette Goldstein as a couple of fellow detectives, Traci Wolfe, Damon Hines, and Ebonie Smith as Murtaugh‘s three children, and Mary Ellen Trainor in a wonderful role as the police psychiatrist Dr. Stephanie Woods who is treated with humor by Riggs. Steve Kahan is terrific as Captain Murphy who tries to make sure Riggs and Murtaugh keep themselves in check as they will be in big trouble if they interfere with Rudd who is protected by diplomatic immunity. Darlene Love is superb as Murtaugh’s wife Trish who accepts Riggs into her family as she learns about what happened to his wife. Patsy Kensit is fantastic as Rudd’s secretary Rika who secretly despises Rudd and his views as she would fall for Riggs and his antics. Derrick O’Connor is excellent as Rudd’s henchman Pieter Vorstedt who is a man that proves to be extremely devious with his own tactics as he also has some revelations for Riggs which would motivate him for vengeance.
Joss Ackland is brilliant as Arjen Rudd as this consul official for the South African government who masterminds many of the schemes for the sake of profit as he carries an air of arrogance over how’s protected by diplomatic immunity. Joe Pesci is hilarious as Leo Getz as this accountant whom Riggs and Murtaugh has to protect as he knows a lot about what Rudd is doing as he brings a lot of charm to his role as well as the fact that he is a great foil for both Riggs and Murtaugh. Finally, there’s Mel Gibson and Danny Glover in remarkable performances in their respective roles as Martin Riggs and Roger Murtaugh. Gibson maintains the very crazy and funny approach to his character while also revealing elements of how sensitive he is. Glover continues in playing the straight man as well as bring very funny as he and Gibson continue to have this electric chemistry.
Lethal Weapon 2 is a marvelous film from Richard Donner that features great performances from Mel Gibson, Danny Glover, and Joe Pesci. The film isn’t just a sequel that manages to just as good as its predecessor as well as be very entertaining. Even as it play into the world where two guys trying to beat up the bad guys in some of the most explosive moments in the film. In the end, Lethal Weapon 2 is phenomenal film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Originally Written and Posted at Epinions.com on 12/7/05 w/ Additional Edits & Revisions.
Based on Jake LaMotta's biographical novel co-written with Joseph Carter and Peter Savage, Raging Bull is the story about the rise and fall of the middleweight boxing champion who succumbs to failure as due to the pressures of the world as well as life outside of the ring. Directed by Martin Scorsese and screenplay by Mardik Martin and Paul Schrader, the film is an exploration into a man who rises high only to undo himself as he deals with failure as it stars Robert de Niro as Jake LaMotta. Also starring Joe Pesci, Frank Vincent, Nicholas Colasanto, Theresa Saldana, and Cathy Moriarty. Raging Bull is a visceral yet harrowing film from Martin Scorsese.
The film is an exploration into the rise and fall of Jake LaMotta as he was once this fearless middleweight fighter in the early 1940s only to become a wreck of a man doing a comedy routine in 1964 as the film begins with this once revered man who is now a fat bum. In the course of the film, LaMotta is portrayed as a gifted fighter who is able to fight his opponents with great skill though he would lose a few matches. Some of which by decision much to the dismay of the people who knows how good LaMotta is. Outside of the ring, LaMotta is a very complicated man who doesn't treat people very well like his first wife Irma (Lori Anne Flax) while leaving all of the business matters to his young brother Joey (Joe Pesci). Once Jake falls for a 15-year old girl named Vickie (Cathy Moriarty) whom he would later marry, things would seem to go well. Yet, bad decisions in and out of the ring, paranoia, and jealousy would lead to his own undoing as he later becomes a retired fat man trying to become a stand-up comedian at his own club in the mid-1950s.
The classic rise-and-fall storyline is always done in some kind of formula but in the way Martin Scorsese and his writers Paul Schrader and Mardik Martin chose to approach it by making it into a simple character study. Going for a visually, poetic style of directing with hand-held cameras, freeze-frames, frame-speeds, and all sorts of unconventional style. Scorsese presents a beautiful yet harrowing tale of a boxer who had it all only to realize that he blew it. Overall, it's Scorsese's realistic take on drama that gives the movie a lasting quality from what goes on in the ring to what happens outside the ring. There's never a moment where the drama is over-the-top, especially in famous scenes where Jake asks Joey to hit him or the jail-cell scene in where Jake ponders why he's done this to himself.
While the film's dramatic moments is wonderfully done thanks to Scorsese's direction, a lot of the credit should go to the screenwriters, Martin and Schrader. Easy enough to follow along in their structure, the story pretty much is told in a simple yet stylized way from the domestic drama to everything that goes on in the ring. The first act of the story is Jake working his way into the top and the second act is where Jake reaches it only to find ways to blow it. The third act of the story isn't necessarily a boxing movie but instead becomes an aftermath of what happens when a boxer is done and becomes in what Marlon Brando's Terry Malloy in Elia Kazan's classic 1954 film On the Waterfront says "I could've had class, I could've been a contender. I could've been somebody, instead of a bum". That line itself pretty much sums up the failures of Jake La Motta who realizes what he's done in the end.
While Scorsese gets a lot of the credit for the film's presentation, Paul Schrader and Mardik Martin deserves equal credit for their realistic view on storytelling as well as the film's authentic dialogue. Especially in the film's spectacular boxing sequences which are some of the most beautiful and downright bloody images captured on film. With the real Jake La Motta serving as a consultant, the boxing sequences aren't just choreographed right down to its essential but also the camera movements and presentation including one sequence of a man getting knocked down with the camera falling down with him. Even in short sequences there's movements of freeze-frame shots, slow-motion angles, and everything.
It's not just Scorsese, La Motta, and the screenwriters who gets credit but some very important collaborators who capture the grit of what goes on in the ring. Cinematographer Michael Chapman's lighting and use of flashbulbs with the black-and-white photography is evocative in every frame to see, especially from the shots where the cameras would flash their bulbs and to what goes on in the ring with smoky air surrounding the fighters. While Chapman's other work on the film is filled with great, authentic moments, it's his work in the boxing ring that brings poetry to those images. Another person who is responsible for the boxing scenes is Scorsese's longtime editor Thelma Schoonmaker who's fast-cutting style and uses of freeze-frames, slow speeds, and stylized tone of editing gives the boxing scenes a moment of horror and wonderful imagery. Even in the shorter sequences, there's a great style as it's a masterwork in the world of editing.
The sound work of Les Lazarowitz and Bill Nicholson add a lot of chaos to the ring from the anger and excitement to the crowds to the swift punches and swings of the boxers inside. Even at moments, the sound is so authentic with every punch, the audience couldn't help but wince and groan at every punch delivered. Make-up artist Michael Westmore also deserves credit not just for his work in the ring with the blood coming out of the faces but also the make-up for the over-the-hill Jake La Motta that shows the sadness of a man who fell from grace hard. Helping the film with its authentic look on the New York sequences outside of the ring is production designer Gene Rudolf along with art director Sheldon Harber for many of the film's bar scenes and nightlife of 1940s/1950s America while Rudolf also does the design of houses and boxing rings in many of the film's other sequences. Costume designers John Boxer and Richard Bruno also do amazing work on the film's costume, especially the dresses of the female actresses and the suits of all the male actors.
While the film features a lot of old music from the likes of Perry Como, Tony Bennett, and other singers of the time, many of the film's music is from the works of composer Pietro Mascagni, especially the film's opening orchestral score in the opening credits of Jake La Motta boxing alone. The music helps in what Scorsese wanted in terms of its dramatic effect and ode to nostalgia. Helping Scorsese with the use of music is former leader of the Band, Robbie Robertson who was Scorsese's leading music producer for several of his films during the 80s. Robertson deserves credit for placing the music on where it should be that helps the film with its authenticity.
Finally, there's the film's superb cast of actors that features great performances from the men who play many of La Motta's opponents, notably Johnny Barnes in the role of Sugar Ray Leonard. Also mentioned for their cameo roles are Martin Scorsese as a bar hand in the film's final scene and his father Charles as Tommy Como's friend as well as early appearances from Michael Badalucco as a soda-pop clerk and John Turturro as a guy in the table in the party scene where Jake sees Vickie. While Theresa Saldana and Lori Anne Flax had small roles as the respective wives of Joey and Jake, they definitely are memorable, especially Flax as Jake's volatile first wife. Nicholas Colasanto is excellent as the sleazy but charming mob boss Tommy Como with his wit and corruptive power. Frank Vincent is also amazing as the hard-nosed and nasty Salvy who likes to get things into trouble and it's a memorable role since Vincent is a well-known character actor.
In her film debut at only 18-years old, Cathy Moriarty gives an amazing, sprawling performance as the beautiful but frustrated Vickie. Moriarty brings a toughness and grace to her role while having great scenes with Pesci and de Niro while standing on her own. Making her character more complex, even towards the end of the film, Moriarty grows from a battered wife who has been sexually and socially neglected to a woman who has had enough and wants to move on. This is a wonderful performance from the always brilliant and funny Moriarty. Joe Pesci gives an amazing, fierce performance as Joey with his tough-minded business attitude and as a conscience-of-sorts for Jake despite the bad things he does for himself too. Whenever he's near Jake, Pesci always tells him what to do and what is right but we also see a real mean side as he goes ballistic in a famous fight scene against Frank Vincent. Though Pesci hasn't been around in the film world since the late 90s, he's an actor that no one can forget as he is truly one of Scorsese's finest actors.
Finally, there's Robert de Niro in a performance for the ages as Jake LaMotta. It's a performance that is an example into why de Niro is so revered as he showcases a man who is one tough son-of-a-bitch who is not willing to be knocked down in a fight eve if he has to lose. There's also this vulnerability that de Niro displays as he makes LaMotta human by showcasing the man's insecurities whether it's through violence or not wanting to give in to sex for different reasons. Once de Niro becomes the older LaMotta, we see a man who is nothing more than a shell of his former self as there's layers to the performance not just in his appearance but what's inside as it's definitely one unforgettable performance.
Raging Bull is an outstanding film from Martin Scorsese that features a magnificent performance from Robert de Niro. Along with a great supporting cast that includes Joe Pesci, Frank Vincent, and Cathy Moriarty as well as amazing technical work from Michael Chapman and Thelma Schoonmaker. The film is truly one of the most eerie portraits of a man who rises high and falls big as it is presented with such beauty and ugliness that captures the life of Jake LaMotta. In the end, Raging Bull is a phenomenal film from Martin Scorsese.
Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn’t Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - The Age of Innocence - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator (2004 film)) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2013
Originally Written and Posted at Epinions.com on 2/7/06 w/ Additioanl Edits & Revisions.
Based on Harry Grey's novel The Hoods, Once Upon a Time in America is the story of an aging gangster who looks back on his time as a young hood working with other Jewish boys in New York City as they later become top criminals during the days of Prohibition. Directed by Sergio Leone and screenplay by Leone, Franco Arcall, Franco Ferrini, Leonardo Benvenuti, Pierro De Bernardi, Enrico Medioli, and Ernesto Gastaldi with additional dialogue and translation by Stuart Kaminsky. The film explores the world of the gangster life during the era of Prohibition among four men as it leads to huge ambitions and betrayals as a man reflects on that time as he returns to finish an assignment. Starring Robert de Niro, James Woods, Elizabeth McGovern, Tuesday Weld, Joe Pesci, Burt Young, Treat Williams, William Forsythe, James Hayden, Danny Aiello, Larry Rapp, James Russo, Scott Tiler, Amy Ryder, Brian Bloom, and in her film debut, Jennifer Connelly. Once Upon a Time in America is a majestic yet harrowing film from Sergio Leone.
On the final night of Prohibition in 1933, David "Noodles" Aaronson is at a Chinese theater high on opium unaware of some startling news as his girlfriend Eve (Darlanne Fluegal) was killed while his friends Patrick "Patsy" Goldberg (James Hayden), Philip "Cockeye" Stein (William Forsythe), and Maximilian "Max" Bercovicz (James Wood) were also killed in a botched heist. After saving his friend and barkeeper Fate Moe Gelly (Larry Rapp) from the gangster Beefy (Frank Gio), Noodles decides to flee town with a key to a suitcase only to discover that it's empty. 35 years later, Noodles returns to New York City as he visits Fat Moe while getting a letter about the grave site of his friends having been moved. Staying at Moe's for a while, Noodles learns that Moe's sister Deborah (Elizabeth McGovern) has become a famous actress as Noodles recalls his time as a young man (Scott Tiler) who fell for the young Deborah (Jennifer Connelly) as she was practicing her ballet recital.
The young Noodles lived in the Jewish community in Brooklyn with his friends Patsy (Brian Bloom), Cockeye (Adrian Curran), and Dominic (Noah Moazezi) where they did small crimes as they also meet up with a new kid from the Bronx named Max (Rusty Jacobs). Noodles and Max become close as help blackmail a corrupt cop named "Fartface Whitey (Richard Foronjy) who was trying to have his time with an underage hooker named Peggy (Julie Cohen). Though Deborah offers him a life outside of crime, Noodles is still tempted as he and Max manage to get themselves in trouble with a local crime figure named Bugsy (James Russo). Noodles and Max decided to form their own gang with Patsy, Cockeye, and Dominic while helping out another local, older gang in the Capuono brothers that becomes profitable. With an agreement among the five boys over the money made, things seemed great until an encounter with Bugsy leads to trouble. Noodles retaliates by killing Bugsy and accidentally killing a cop as he's forced to serve time in prison. Many years later as an adult, Noodles resumes his life of crime with Max and the gang where Moe runs a speakeasy and Peggy (Amy Ryder) is a brothel madam while Deborah tries to work her way up as a dancer.
After stealing some diamonds for Joe (Burt Young) and Frankie Minaldi (Joe Pesci) while learning about its value, Noodles learn that the theft was a plan to kill Joe Minaldi in order to gain the diamonds for themselves. With Noodles trying to maintain his business as they later save a local union spokesman named Jimmy O'Donnell (Treat Williams) from Chicken Joe (Richard Bright), business begins to boom when Max's new girlfriend Carol (Tuesday Weld) joins the team. While Noodles tries to pursue Deborah by having a lavish dinner with her, she reveals that she's leaving for Hollywood leaving Noodles confused. With Max becoming more ambitious in his dealings just as Prohibition is about to end, Noodles remains unsure as Max decides to create a big heist. Many years later as Noodles reflects, he finds a key to a locker at the old train station he hung out as he's been given an assignment that has to do with a commerce secretary named Bailey. After meeting Carol in a foundation building to learn more about Bailey, he finally gets an answer in the last person he expects where he makes a troubling discovery.
What this film has in common with The Godfather series and Goodfellas is the mythology of the gangster/mob world. Unlike those two films, Leone goes for a study of ambition and morality through the viewpoint of one man consumed with guilt. Since Leone and his writers aimed for that approach of study, the result isn't just this absorbing epic of young boys who are entranced by a world of crime but how far they're willing to go to become successful. Now a near, 4-hour running time might seem long but Leone and his approach to narrative structure makes the experience to be amazing in how Noodles sees things and how he reacts to them. Especially in the end when he is summoned for a job where he realizes what he has to do. In the end, he becomes powerless but content to the point where for anyone wondering where has he been hiding what he's doing for those 35 years. It doesn't matter what he did, in fact that is an entirely different story. What matters is why he’s been contacted.
It's in Leone's script with his writers that the film's non-linear structure is unique. The first act being Noodles' reflection of his childhood, his first meeting with Max, and the tragedy that would shape his outlook on the world. The second act is Noodles seeing how his own crime operation has changed and his own ideas of how things should be done where he wanted to keep a low profile and remain in the streets. The third act is Noodles and Max's disagreement over ambitions and how it all fell apart when Noodles tries to save Max. Also in that third act is when Noodle is in 1968, he searches for all the clues to why he's been contacted only to learn some horrible truths. Then there's a strange sense of completion in how the film began and end in the Chinese theaters with Noodles, high on opium, is at. The result only leaves an open interpretation where he could be dreaming of all of these things.
If the script that Leone concocted is filled with amazing character study and a non-linear structure, his direction is just as potent and involving in every scene that he shoots. For the first act, especially with the young cast, Leone aims for an innocence in the idea of sex and crime where the boys are hoping to make something of themselves. Even Noodle's attraction to Deborah has this unique presence of first love. Then when it reaches that first moment of tragedy, that innocence ends where Leone definitely aims for this area of confusion in terms of sex and violence in its most graphic depiction. Particularly in the way Noodles treats women to the point that he doesn't know. Leone doesn't condemn or sympathize for his actions but only to reveal Noodles' major flaw. Especially in Leone's approach of rape where he reveals Noodles' action in graphic detail to the point that he aims for a level to make the audience uncomfortable.
Leone's epic-scope of direction where he uses wide, far away shots to cover the area and time of where his character in is absorbing to watch. Especially with the close-up of the characters where the audience sees how emotionally involved Leone is in with all of his characters. The close-ups he does comes from an emotional point for the characters of whatever reaction they're in. While it's an old technique that Leone has used in his great films, it's a technique that still works and imitated for many years. Another great technique Leone does with the structure of his script is how he moves from time period to time period, especially that first shift of time changing where the Noodle of 1933 is in a train station walking into a Coney Island attraction and then walking out as an old man in 1968. Overall, Leone's direction is a potent as ever in the way he creates and cares for the situations and characters around him.
Helping Leone in his epic, visual scope is cinematographer Tonino Delli Colli whose camera work creates the large canvas Leone wanted. Colli's cinematography is filled with enormous lighting schemes to convey the sense of loss and change throughout the characters. From the lush, interior settings where everything feels intimate to the evocative look in many of the film's exterior scenes as Colli does great work in the photography. Production designer Walter Massi and art directors Carlo Simi and James T. Singelis also do amazing work in the detail the contrast look of the drab 1920s look of the community the young boys in to the rich world they live by of the 1930s. Even the place of Fat Moe's has a change where early, it's a family restaurant filled with all of these old things that later becomes an underground speakeasy with all the works. Then when the film shifts to 1968, it becomes a former shell of itself as a regular old tavern with little of what was from the past to convey that loss.
Helping out in the costume design is Gabriella Pescucci whose design of the suits for the young characters and their older counterparts work well with time and how they shift, especially the look of the women. Doing some great work for the film's structure and leisurely pacing style is editor Nino Baragli whose use of long cuts and shifts from time to time really makes the audience aware of what’s happening and not lose its pace. For a film as epic like this, Baragli does amazing work with the editing and tightening up scenes that could've been too slow but slow enough for the audience to be aware of what's happening. The sound work of Jean-Pierre Ruh is also great for the sound effects, especially early on in the film with the constant ringing of the telephone that is heard to the point of deliberate annoyance that conveys the action of what's happening.
Then there is the music which features additional compositions used from the likes of Irving Berlin's God Bless America that is played early on in the film and towards the end along with an orchestral version of the Beatles' Yesterday as well as orchestral cuts of Joseph M. LaCalle and Gioacchino Rossini. The main music that is played throughout the entire film whether its hummed, whistled through a pipe or a mouth is the music of Ennio Morricone, a longtime collaborator of Leone. Morricone’s lush arrangements and dreamy textures conveys the loss of innocence and sense of fantasy that is shown through the mind of Noodles and Max. Morricone's score is distinct in its arrangements and use of windpipes that are played throughout to its connection with China where Noodles seems to escape to in their theater. It's probably one of the best musical scores ever done by the great Ennio Morricone.
Finally, we have the film's large ensemble cast that features great small performances from Richard Bright, Robert Harper, Frank Gio, Gerard Murphy, James Russo, Darlanne Fluegel, plus Clem Caserta, Frank Sisto, and Jerry Strivelli as the Capuano brothers who help the boys early on, and cameos from Sergio Leone as a ticket man, his daughter Francesca in a party scene late in the film, and producer Arnon Milchan as Noodles' chauffeur. In small yet memorable supporting roles, Burt Young, Joe Pesci, and Treat Williams all do excellent work in their performances while Amy Ryder does a good performance as the older Peggy while Julie Cohen does excellent work as the young Peggy. Richard Foronjy does hilarious work as the corrupt cop the boys get to mess with while Danny Aiello also plays a foil in a wonderful performance as a police chief who loses his cool. One of the best supporting performances goes to Tuesday Weld as Carol, a rare woman of sorts in Leone's films who has enough power and independence to do whatever she wants though later on, she sees trouble and in the aftermath, is filled with regret as she and Noodles make peace over what happen in a great performance.
The film's young cast features some wonderful performances from the likes of Brian Bloom, Adrian Curran, and Noah Moazezi as Dominic with standout scenes and performances. Bloom and Curran's respective counterparts in the late James Hayden (who died of a drug overdose months before the film’s release at the Cannes Film Festival) and great character actor William Forsythe have hilarious, memorable performances throughout the entire film. Mike Monetti is also excellent as the young Fat Moe whose friendship and loyalty is counted on as his older counterpart by Larry Rapp is also amazing for his companionship and sense of comfort to those around him, even with Noodles in the 1968 scenes. Rusty Jacobs does a great job in playing the young Max with his confident swagger and street-wise ambition as he does a great job living up to playing a young James Woods. Scott Tiler also is excellent in playing the young Noodles with his wide-eyed innocence and penchant for trouble as he does a great job in living up to playing the same stature in the character for de Niro.
In the role of Deborah, Elizabeth McGovern does a fine job in playing the older version whose sense of disappointment towards Noodles is conveyed well but doesn't carry a presence that was set early on through the film where McGovern doesn't really live up to her own flaws for the character. Jennifer Connelly though, does amazing work in playing the young Deborah where she ends up overshadowing McGovern despite being in the film for a short time early on. Connelly's performance is filled with a natural vibe where her presence is exhilarating to watch with her wide-eyed innocence and street smart knowing that she wants to get out but in the most honest way she can think of. While McGovern had to do more of the challenging stuff, her performance is weak in comparison to Connelly who just lights up the screen.
In a performance that can be described as one of the most overlooked of the 1980s, James Woods does great work in the role of Max. Playing an ambitious, confident man with big plans, Woods personifies the character with great wit and charm throughout the entire film. Doing great work, side-by-side with de Niro, Woods plays the perfect counterpart in a role Woods often says his one of his favorite and a performance he's most proud of. It's certainly one of his greatest performances of his great career.
Finally, there's Robert de Niro in one of his finest performances to date in a very complex, layered role as Noodles. Throughout the entire film, de Niro displays ranges of emotions by doing little as he acts throughout half the film in a silent manner revealing his sense of loss, regret, and wasted opportunity. In the 1930s scenes, de Niro reveals that he's a guy who wants to be in the streets and remain low key while being unsure of the things around him while refusing the idea of change around him. In those sequences, de Niro has great scenes with Weld, McGovern, and most of all, Woods. When de Niro plays the old version of Noodles in the 1968, de Niro sells all in his performance by not doing much and revealing the layered sense of melancholia in probably one of his finest and overlooked performances of his career.
In the Region 1, 2-disc DVD set released in 2003 by Warner Brothers comes the full 229-minute version that was presented at the 1984 Cannes Film Festival, uncut and uncensored. Presented in widescreen in a dual-layer format, the new digital transfer of the film with a remastered soundtrack in 5.1 Dolby Digital looks and sounds great overall for a film like this. The only problem with this restoration and remastering is that because the film is nearly four hours, it had to be split in two which is annoying and abrupt where discs had to be changed. Still, the quality of the movies in its original presentation with restored scenes that didn't make it to the American version (in its 2 1/2 hour botched studio cut and Leone's 3 hour, 49 minute cut).
The special features in the film that mostly appear in the second disc includes a wonderful photo gallery of the film on set with Leone directing all of his actors in several scenes while looking relaxed and having fun. Also shown are a cast/crew list of the people involved and the film's original theatrical trailer which doesn't have that kind of excitement or anticipation that is felt in today's trailers but an example of what they were at the time. One little feature is shown in the second disc of the DVD is an excerpt from the Turner Classic Movies documentary of Sergio Leone entitled Once Upon a Time: Sergio Leone where the focus is on Once Upon a Time in America. The documentary that features interviews with several of the writers involved with the film, Leone's wife Carla (who died shortly before the doc was finished in 2001), and his daughters Francesca and Raffaella plus composer Ennio Morricone and actors James Coburn, James Woods, Scott Tiler, and director Quentin Tarantino.
The discussion in the doc is focused on the film where Tarantino described his love for Leone's close-up and the years it took to develop the script which took nearly 10 before they went into production in 1982. James Woods talked about his own experience which he claimed was the greatest one he's ever lived and loved this film more than anything he's done. There was also the discussion of what happened when the film got released in America in its 2 1/2 hour cut in chronological sequence that got horrific reviews in the U.S. in 1984. James Coburn talked about how heartbreaking it was for Sergio who remained heartbroken till his death in 1989 when he was planning to do a film about the Russian Revolution. Woods also talked about how Sheila Benson from the L.A. Times called the film the worst movie of 1984 until she saw Leone's uncensored, uncut version in which she voted it as one of the best films of the 1980s. It's a wonderful excerpt about the film and the people involved.
Another special feature that is in both discs is a commentary from Times magazine film critic Richard Schickel. Schickel's commentary is filled with some insightful trivia on the film and Leone while he gives his own thoughts on several scenes including the ending. He also talks about the botched cut it got and the version that he's commenting in the film which he says is the definitive version. He does wonderful critique in praising the actors and technical detail, particularly on Leone's direction. He also interprets the film as not just a fantasy film of sorts but a heterosexual love story between Noodles and Max. Schickel also talks about Leone's original plan to make the film a 2-part, 6-hour cut which had several deleted scenes involving Noodles' last meeting with Carol and more of Noodles' relationship with Eve. Schickel said Leone decided not to and instead went for the near 4-hour cut which he was happy about.
While the DVD's lack of feature is a bit disappointing on some parts, probably some time in the future where the DVD will evolve to the point of getting this entire film into one disc without interruptions. It would be a great DVD release with the botched cut to give insight on what not to do and maybe some of those famous deleted scenes. Though it would be interesting to see the unseen 6-hour cut Leone had originally wanted but this original presentation in its 4-hour running time is probably and will always be the definitive version. In the end, this DVD is an excellent purchase for those who love the work of Sergio Leone.
Overall, Once Upon a Time in America is an amazing, intelligent, and heartbreaking gangster drama helmed by one of cinema's finest masters, Sergio Leone. With a great cast led by Robert de Niro and James Woods with a great supporting cast including Tuesday Weld, Jennifer Connelly, Rusty Jacobs, Scott Tiler, Larry Rapp, William Forsythe, Elizabeth McGovern, Treat Williams, and Joe Pesci. Fans of gangster films will indeed find this film to be definitive of the genre while it also has something to bring for epic film fans. While it's hard to tell if it'll top any of Leone's other films, it's clear that he can do more than just a western while the best thing now for him is that his classic has now found an audience. In the end, Once Upon a Time in America is a true cinema classic and a fond farewell from the great Sergio Leone.
Sergio Leone Films: The Last Days of Pompeii (1959 film) - The Colossus of Rhodes - A Fistful of Dollars - For a Few Dollars More - The Good, the Bad, & the Ugly - Once Upon a Time in the West - Duck, You Sucker!
Related: Once Upon a Time: Sergio Leone - The Auteurs #16: Sergio Leone
(C) thevoid99 2012
