Tagarchief: Gangster Films

Bullets Over Hollywood

Posted on by Jeppe Kleijngeld

Bullets Over Hollywood (2005, USA)

Director: Elaina Archer
Written by: John McCarty (book), Elaina Archer, Tom Marksbury
Features: Paul Sorvino (narrator), Leonard Maltin, Michael Madsen, Edward McDonald, ao.

Running Time: 70 mins.

This Hugh Hefner produced documentary shows the fascination of moviegoers with the mob. ‘Once in the racket, always in the racket’, Al Capone said who became the archetype of the gangster and role-model for some legendary movie characters like Caesar ‘Rico’ Bandello (Little Caesar) and Tony Camonte/Montana (Scarface) This also applies to Hollywood when it comes to making gangster films. Every time you think the realms of the genre have been fully explored, some new masterpiece comes along. After the time that Cagney, Robinson and Bogart dominated the screen, a new generation of filmmakers emerged in the seventies with Coppola, Scorsese and De Palma. Then at the brink of the new millennium, the Hollywood gangster legend continued on the small screen with The Sopranos.

Bullets Over Hollywood opens with the very first gangster film: The Musketeers Of Pig Alley, made in 1912. It then goes on to chronologically move through gangster film history right up until The Sopranos. The documentary combines film fragments, interviews and real gangster footage while Paul Sorvino (GoodFellas) provides the narrative. It is an interesting viewing for enthusiasts of the genre, but misses real insight in the works that it covers. Some interesting facts are revealed such as the story that Howard Hawks was forced by Hollywood to add ‘the shame of the nation’ to his gangsterfilm Scarface, because they didn’t want to glorify gangsters. Also interesting is some behind-the-scene footage of gangster classics, but these fragments are unfortunately a little brief. Altogether this is worth a look. If only to hear Leonard Maltin rave about The Godfather and to re-experience some of the finest sequences in the history of this fascinating American phenomenon.

Rating:


The Musketeers Of Pig Alley (1912, D.W. Griffith)

The Many Saints of Newark (2021, Review)

Posted on by Jeppe Kleijngeld

Directed by:
Alan Taylor

Written by:
David Chase
Lawrence Konner

Cast:
Alessandro Nivola (Dickie Moltisanti), Leslie Odom Jr. (Harold McBrayer), Jon Bernthal (Johnny Soprano), Vera Farmiga (Livia Soprano), Corey Stoll (Junior Soprano), Ray Liotta (‘Hollywood Dick’ Moltisanti), Michela De Rossi (Giuseppina Moltisanti), Michael Gandolfini (Teenage Tony Soprano), Billy Magnussen (Paulie Walnuts), John Magaro (Silvio Dante)

“My uncle Tony…” It is certainly great to hear Christopher’s voice again. He narrates the story in this long awaited Sopranos prequel from the grave. Chrissy forms the link between the spirit world – where the beloved show now resides – and the world of The Many Saints of Newark, which is now coming to life on cinema screens worldwide and on streaming service HBO Max.

This world, which is set in the 1960’s in New Jersey, is inhabited by many familiar characters in their younger years: Tony Soprano, ages 9 and 17, his parents Johnny Boy and Livia, his uncle Junior, Silvio Dante, Paulie Walnuts, Big Pussy Bonpensiero, and a couple of others. The main character is Christopher’s father Dickie Moltisanti (Alessandro Nivola), who was referred to as a legend in the series, but never seen. Logical, since he was already dead when the show started.

We meet Dickie at the Jersey station, where his father Hollywood Dick, played by Ray Liotta, brings home a new Italian wife from the home country. She is into the handsome and charming Dickie immediately, which complicates the already difficult relationship between him and his mobbed-up father. And soon it leads to a dramatic moment early in the film, which is also none of the highlights of the movie. Both Nivola and Liotta are terrific in their roles. For Liotta, a double role that is; he also plays Dick’s twin brother Sally who’s in jail for life for whacking a made member.

Dickie is a troubled man obviously. He resembles his future son Christopher in many ways: he’s a compulsive law breaker, has an explosive temper and is a murderer. He is also searching. Dickie has the deep desire to do something good, something special to elevate his existence out of the mundane. But he doesn’t know how. Dickie is involved in the numbers rackets in Jersey together with a bunch of black criminals. In the first part of the movie, the 1967 Newark riots take place in which the black riotters, who are structurally discriminated against, face off against the police. In the second part of the film, Dickie’s black business partners get ambitions of their own which leads to a violent conflict in the Jersey underworld.

Besides having his own activities, Moltisanti is also deeply involved with the DiMeo crime family in Jersey whose members love him. But as we know from the show, in this volatile milieu inhabited by envious sociopaths, danger is always lurking. It is this world that young Tony Soprano (Michael Gandolfini) is inevitably drawn to. Dickie becomes his mentor, but on advice of Sally, whom he goes to visit in jail, he turns his back on him. Although the film was marketed as the story of how Tony becomes a gangster, there is not one defining moment through which this happens. This is really at the early beginning of his transformation. Dickie is certainly an inspiration for him with all his influence, his money and his women. But above all, Tony is just talented, and the invitation for him to join the Family is there.

The casting of Michael Gandolfini – son of the deceased James Gandolfini who became a legend by portraying Tony Soprano – works wonderfully well. He is obviously a gifted actor like his father, but the way he resembles his dad as Tony is uncanny at times. Especially during the scene in which he and his friends hijack an icecream truck and start handing out free ice creams. Another standout performance is given by Vera Farmiga as Tony’s batshit crazy mother Livia. The dynamic between her and Gandolfini is great, and the scene between her and Tony’s school counselor is genuinely touching.

Other positive points of Many Saints are the terrific sixties soundtrack, the dark humour and the many clever references to the show that fans will love. A point of critique is that although it feels cinematic, which The Sopranos also did by the way, the screenplay is written more like a long television episode. Storywise, a few cogs are missing and the ending comes too suddenly.

David Chase has expressed interest in doing another period piece about young Tony Soprano together with Terence Winter, who wrote some of the best Sopranos-episodes. Winter responded positively, so there might be another return to this universe Chase has created. But if it doesn’t, that’s okay by me. The Many Saints is a very enjoyable return to the show that still ranks as one of the best ever. The Many Saints can now be added as a great cinematic companion piece.

The Sopranos: 10 Favorite Episodes

Posted on by Jeppe Kleijngeld

Part of: The Sopranos Features

By Jeppe Kleijngeld

 

10. Whitecaps
Season 4, episode 13
The one in which: Tony and Carmela separate.

At the end of season 4 there aren’t any major enemies to get rid off. Ralphie already died in episode 9. But the real shocker this time is the disintegration of the Soprano marriage and it is total dynamite. James Gandolfini and Edie Falco do some of the finest acting ever filmed. Their fights are just so realistic and raw, it’s mind blowing. Both superb actors won well deserved Emmy Awards for their work in this episode.

09. I Dream of Jeannie Cusamano
Season 1, episode 13
The one in which: Tony and his crew deal with Uncle Junior and his cronies for trying to have him whacked. Tony also discovers his own mother was in on the murder plot!

The season 1 finale is totally satisfying. Rat Jimmy Altieri gets whacked. Villain Michael Palmice also gets whacked in a memorable scene in the woods (“I got poison ivy all over me!”). And Junior is arrested by the feds. Carmela discovers what father Phil is really about and tells him the truth. Evil Livia makes one final move against Tony by telling Artie what really happened to his restaurant. It all ends in the perfect finale during a stormy night in Vesuvio. Tony is the new boss and he’s enjoying time with his other family in the here and now. Bruce Springsteen provides the perfect ending tune with Mr. State Trooper. This is television reinvented.

08. Whoever Did This
Episode 4, episode 9
The one in which: A stoned Christopher and Tony have to dispose of Ralphie’s corpse whom Tony has killed in a rage over a dead horse.

A wonder of an episode. These damn writers make us feel enormous sympathy for a character who did something so evil in the previous season. Like the girl he killed would never come home to her son, the same thing now happens to Ralphie. His son Justin will never know what happened to his dad. It is just so sad and horrible. Tony did this to Justin like Ralphie did it to Tracy’s kid. Before this episode, we would have loved to see Tony whack this guy. We would have cheered him on. But now… Jesus christ. Ralphie was just on the path of doing what needed to be done. Sure, he was still a mobster. He would still have regularly kicked the shit out of a guy to bring Tony a fat envelope – and sometimes worse – but he was improving. And then Tony savagely kills him. Like some fucking animal….

07. Kennedy and Heidi
Season 7, episode 6
The one in which: After a car crash Tony suffocates Christopher. Then he treats himself to a leisurely trip to Vegas.

In the second half of the sixth season, Tony becomes the worst version of himself. Sure, he was always capable of these evil deeds. And occasionally he shocked us with his wickedness. But now he goes all the way. He doesn’t hesitate a second to choke the life out of his nephew when the opportunity presents itself. He may have had reasons for doing this, but this is just a horrible goddamn mess. Afterwards, he doesn’t seem to feel any regret and flies to Vegas to have sex with Christopher’s goomar and take a peyote trip with her in the desert. It’s a very dark hour, and once again sublimely written, acted and directed.

06. Members Only
Season 6, episode 1
The one in which: Eugene inherits money and wants out, but finds out he can’t. Tony tries to take care of Uncle Junior and gets shot.

Season 6 starts with a bang. A big one. The atmosphere of the new season is totally different than the previous seasons, but there is no doubt this is The Sopranos. The ‘Seven Souls’ montage that opens it is as great as the ‘It’s a Very Good Year’ montage that started the second season. And focussing heavily on a previously unimportant character (Eugene) works very well. We see what happens when a made member wants out and it ends in the most disturbing suicide scene ever. It also surprises us a number of times. Rather than becoming the big rat like everybody thought, Raymond Curto dies of a stroke. And Junior shooting Tony is a terrible scene and one of the few times the show ends with a cliffhanger.

05. The Blue Comet
Season 7, episode 8
The one in which: A full-on war erupts between New Jersey and New York.

‘The Blue Comet’ is a real nail biter. Who will live and who will die? All bets are off. By playing with the audience’s expectations and fears, this episode feels as if Alfred Hitchcock could have directed it. The final bodycount is five, and that doesn’t include Silvio who’s in a coma at the end. Apart from the many resolutions in the Family, Tony’s therapy gets terminated too. Melfi, after realizing Tony is never going to change, kicks him out. Unlike Diane Keaton’s final image in The Godfather, who is blocked out by a door being shut for her, Melfi is the one who slams this door shut. ‘End times huh’, Agent Harris remarks early in the episode. That’s for sure. But ‘The Blue Comet’ leaves enough threats open to be resolved in the finale.

04. Pine Barrens
Season 3, episode 11
The one in which: Paulie and Christopher get lost in the woods.

A fan favorite directed by one of Chase’s favorite directors Steve Buscemi. There are Fargo references, but the snow was merely a coincidence according to the episode’s writer Terence Winter. The plot is about setting boundaries and what happens when one crosses them. This leads to a hilarious episode with some of the funniest dialogues and performances of the show. The Sopranos was often way more funny than the funniest comedies, and this episode is the comedic highlight of the series. Paulie: “You’re not gonna believe this. He killed sixteen Czechoslovakians. The guy was an interior decorator.” Christopher: “His house looked like shit.” It doesn’t get better than this.

03. College
Season 1, Episode 5
The one in which: Tony takes Meadow looking for colleges, while Carmela hangs out with the local priest.

This is the episode that really took the show to the next level. For some of the best writing, acting and directing of the series, look no further than ‘College’. The two stories mirror each other in a brilliant way. Carmella’s confession: “I think he has committed horrible acts”. To Tony confessing to Meadow that he is in organised crime: “Some of my money comes from illegal gambling and whatnot”. And then he brutally murders a man for breaking the omerta. Chase is an extremely smart guy. There are more confessions. Meadow tells Tony she took speed. And Carmela tells Tony Father Intintola has spent the night at the Soprano house while Tony was away. And then: “Your therapist called… Jennifer?” Tony confesses: “It’s just therapy. We just talk. That’s all.” Like Carmela and Father. No sex, just talking.

02. Long Term Parking
Season 5, episode 12
The one in which: Adriana gets killed for ratting out the Family.

A gut wrenching episode in which we have to say goodbye to another show regular. The final images in which Tony and Carmela inspect the ground of their new spec house, have a Godfather-like quality. The fallen leaves indicate it’s a place similar to where Adriana was killed moments earlier. Another sacrifice to pay for their decadent lifestyle. Their whole world is built on blood. “You’re alright?” Carmela asks Tony. “Me?” Tony replies. “Yeah. Absolutely”. Wow.

01. Funhouse
Season 2, episode 13
The one in which: Tony discovers through a series of fever dreams that his longtime friend and associate Big Pussy is a rat.

I now see that my favorite three episodes all have to do with rat extermination. Obviously, this is one of the central themes that The Sopranos used to create terrific drama and suspense. ‘Funhouse’ also brilliantly uses dreams to drive the plot forward, which makes this my favorite television episode of all time. When I first watched it, I just couldn’t believe it. I was hoping for a terrific episode to wrap up the season, like season 1 did with ‘I Dream of Jeannie Cusamano’. A conventional finale that neatly ties up the remaining storylines, although The Sopranos was never conventional. ‘Funhouse’ did something else entirely. By adding twenty minutes of dreamtime I got much closer to Twin Peaks than to the mob films it originally seemed to be based on. It does resolve the main remaining story – that Big Pussy is indeed ‘singing’ for the feds and needs to get whacked – but it does so in a brilliantly surprising way. By delving into the main character’s subconscious and making him realise the ugly truth his conscious self couldn’t accept. Michael Imperioli (who plays Christopher) has a theory about the episode he explains in the Talking Sopranos podcast. He believes Tony didn’t have food poisoning at all, but that it was the knowledge that he had to kill his friend that made him so sick. And killing his friend he does. The scene on the boat, of which the interior scenes were shot in a studio, is a dramatic highlight of the show. Brilliant acting by the cast, especially James Gandolfini and Vincent Pastore as Pussy. It’s ridiculous that season 2 didn’t win the major Emmy Awards that year, but they weren’t ready for The Sopranos yet. The show has been groundbreaking from the beginning and this episode really took it to another level again. Words are not sufficient to express how amazing this episode – or the whole show – is. It’s just incredible.

The Sopranos Features: Introduction

Posted on by Jeppe Kleijngeld

By Jeppe Kleijngeld

For a period of eight blissful years, The Sopranos answered the TV-prayers of me and millions of other TV-maniacs. As a huge fan of GoodFellas, a quality series about a New Jersey mob family sounded like music to my ears. It delivered on its high expectations. No, it exceeded them by far.

Tony Soprano, family matriarch, mob boss and psychiatric patient. The perfect characteristics for a leading man of a drama show. This complex character is wonderfully portrayed by the now legendary James Gandolfini. He is a fat, bald ladykiller, A charismatic sociopath. And also a family man and murderer. You just couldn’t ask for a more captivating main character.

But it isn’t just Tony who delivers. The supporting cast is delicious as well. We all have our favourites (mine is consigliere Silvio Dante), but I give praise to all; the hilarious psycho Paulie Walnuts, self-absorbed Christopher, ethically conscious Dr. Melfi, money-grabbing Carmela, crazy uncle June. Too many to mention, but all marvellous indeed!

So, what gives this show its ridiculous appeal? The guns, the girls, the gabagool? I guess this is just one of those very rare productions in which everything fits in perfectly; the teleplays, the actors, the soundtrack, the look and feel…it is perfect. Brilliant even.

When talking about classic mob movies, The Godfather and GoodFellas always come up first. The Sopranos can now be added to the mix. Mind you, this isn’t some ordinary rip-off. Since the pilot episode it has stood on its own feet. It is a highly original and modern take on the ‘been there, done that’ gangster genre. It placed mobsters with old values in the 21th century with all of its problems: depression, terrorism, failing capitalism and addiction.

For 86 episodes you are watching killers, who lack any form of empathy for their victims. Still, you love to spend time with them because they are so entertaining and their behaviour is so funny (when it’s not off-putting and disgusting). Often, the writers remind the audience of who these people really are. So how does one cope with all these horrible crimes on his conscience? Being a sociopath helps, but otherwise there is therapy (Tony), the catholic church (Carmela) or drug abuse (Christopher). High concept TV at its best.

Creator David Chase, who in the past worked on shows such as Northern Exposure and The Rockford Files, has created a cultural phenomenon. The Sopranos must be viewed, loved and treasured. Seriously, you’d be a douchebag to miss it.