Tagarchief: Harvey Keitel

Bugsy (1991)

Posted on by Jeppe Kleijngeld


‘Glamour Was The Disguise’

Directed by:
Barry Levinson

Written by:
Dean Jennings (book)
James Toback (written by)

Cast:
Warren Beatty (Benjamin ‘Bugsy’ Siegel), Annette Bening (Virginia Hill), Harvey Keitel (Mickey Cohen), Ben Kingsley (Meyer Lansky), Elliott Gould (Harry Greenberg), Joe Mantegna (George Raft), Richard Sarafian (Jack Dragna), Bebe Neuwirth (Countess di Frasso), Gian-Carlo Scandiuzzi (Count di Frasso), Wendy Phillips (Esta Siegel)

Benjamin ‘Bugsy’ Siegel is a successful member of the largest crime family in the United States. Known as a charismatic killer with a reputation for volatile outbursts, especially when he’s called Bugsy.

He travels to California on behalf of his partners, Lucky Luciano and his loyal, long-time friend Meyer Lansky (Ben Kingsley), to expand their business. He first contends with local racketeers Jack Dragna (Richard Sarafian) and Mickey Cohen (Harvey Keitel), but before long, he has both on his payroll.

Soon after, Ben meets Virginia Hill, a promiscuous actress for whom he quickly develops a burning passion. During a visit to the desert town of Las Vegas, he conceives a plan to open a hotel where gambling is legal. After consulting his partners, Ben begins building the Flamingo with his new fiancée, Virginia. Soon, however, construction costs spiral out of control due to Bugsy’s indifference toward money and Virginia’s secret Swiss bank accounts. His partners cannot tolerate theft, and Bugsy’s downfall draws nearer.

Bugsy is a strong biographical story about one of America’s most legendary gangsters, the man credited with inventing Las Vegas. Beatty is convincing as the protagonist, slowly descending into madness. We come to know Bugsy as a sympathetic figure (at least: for a murderer) who simply holds different values than most. We feel for him as he loses his grip and heads toward his inevitable downfall. His fatal flaw is also one of his endearing traits in the film: his disregard for money – something fundamentally incompatible with gangster life.

Visually, Bugsy authentically captures the mid-1940s, thanks in large part to Allen Daviau’s magnificent cinematography. The supporting cast delivers strong performances, with Annette Bening always a pleasure to watch and Ben Kingsley making a great Meyer Lansky.

Overall, this is a worthy gangster film, most admirable for its strong biographical elements. We truly understand this character and his motivations. Those seeking hard gangster violence may appreciate it less, as there are only three murders of which one occurs off-screen.

Rating:

Quote:
BUGSY’ SIEGEL: “I only talk this much before I kill someone.”

Trivia:
Warren Beatty and Annette Bening married after meeting during this production.

Reservoir Dogs (1992)

Posted on by Jeppe Kleijngeld


‘Let’s go to work’

Directed by:
Quentin Tarantino

Written by:
Quentin Tarantino

Cast:
Harvey Keitel (Mr. White / Larry Dimmick), Tim Roth (Mr. Orange / Freddy Newandyke), Michael Madsen (Mr. Blonde / Vic Vega), Steve Buscemi (Mr. Pink), Lawrence Tierney (Joe Cabot), Chris Penn (Nice Guy Eddie Cabot), Eddie Bunker (Mr. Blue), Quentin Tarantino (Mr. Brown), Randy Brooks (Holdaway), Kirk Baltz (Marvin Nash)

‘Mr. Brown, Mr. White, Mr. Blonde, Mr. Blue, Mr. Orange, and Mr. Pink.’
‘Why am I Mr. Pink?’
‘Because you’re a faggot, all right!’

Meet the Reservoir Dogs. It’s 1992, and cinema firebrand Quentin Tarantino has just exploded onto the scene. Reservoir Dogs is easily the most impressive directorial debut of the 1990s – arguably of all time.

Joe Cabot and his son, Nice Guy Eddie, assemble a six-man crew for a daring diamond heist. None of the men have met before. To maintain anonymity and protect against betrayal, each is given an alias. Despite meticulous planning, the robbery goes catastrophically wrong. Someone talked. At the rendezvous point – an abandoned warehouse – the crew turns on each other in a deadly showdown.

This relatively simple premise is executed with striking ingenuity. Tarantino crafts a masterful nonlinear narrative, shifting back and forth in time between the heist’s setup and its bloody aftermath – yet never showing the actual robbery. Background details are revealed with precision, each revelation tightening the suspense until the traitor is unmasked and tensions reach a violent climax. It’s absolutely riveting cinema.

Since its release, Reservoir Dogs has inspired countless indie filmmakers hoping to capture the same low-budget brilliance, but few have come close. Why? Because they can’t write a screenplay this sharp, that’s why. Tarantino delivers more than just clever structure – he populates his film with complex, vividly drawn characters. And then there’s the dialogue: razor-sharp, darkly funny, and endlessly quotable.

At times, the film plays like a black comedy of the highest order. Yet it never loses its edge as a hyper-tense thriller. “My heart is beating so fast I’m about to have a heart attack”, Mr. Blonde says at one point and the same could be said for the audience. Whether it’s Mr. Pink’s frantic getaway, the desperate escape attempts, or the slow-burn mystery of the undercover cop, the tension never lets up.

The atmosphere swings from effortlessly cool – see the iconic opening credits—to grim and downright brutal. The casual banter gives way to explosive violence with little warning. The warehouse itself becomes a chamber of horrors: Mr. Orange bleeding out for most of the film, the infamous torture scene – it’s disturbing and hard to watch, and that’s exactly the point.

The cast seals the deal. With actors like Harvey Keitel and Steve Buscemi delivering Tarantino’s dialogue with perfect rhythm, even conversations about Madonna or tipping become electric. Chris Penn gives what might be his best performance, and Lawrence Tierney is unforgettable in his final tough-guy role.

Tarantino’s debut might still be his finest work. Pulp Fiction may be equally brilliant, but it occasionally meanders. Reservoir Dogs, in contrast, never loses momentum. It’s lean, vicious, and near-perfect – a film so good it’s almost a curse. Tarantino didn’t just enter the scene with a bang; he set the bar impossibly high from the very start.

Rating:

Quote:

MR. WHITE: “What you’re supposed to do is act like a fucking professional. A psychopath ain’t a professional. You can’t work with a psychopath. You don’t know what these sick assholes are gonna do next.”

Trivia:

Michael Madsen auditioned for the part of Mr. Pink. But Tarantino told him: “Here’s the thing: you’re not Mr. Pink, you’re Mr. Blonde. And if you’re not Mr. Blonde, then you’re not in the fucking movie.”

Wise Guys (1986)

Posted on by Jeppe Kleijngeld


‘What kind of guys gamble with the boss’s money, swipe a killer’s Cadillac, and party on the mob’s credit card?’

Directed by:
Brian De Palma

Written by:
George Gallo
Norman Steinberg

Cast:
Danny DeVito (Harry Valentini), Joe Piscopo (Moe Dickstein), Harvey Keitel (Bobby DiLea), Ray Sharkey (Marco), Dan Hedaya (Anthony Castello), Lou Allano (Frank ‘The Fixer’ Acavano), Julie Bovasso (Lil Dickstein), Patti LuPone (Wanda Valentini), Antonia Rey (Aunt Sadie), Mimi Cecchini (Grandma Valentini)

The reason GoodFellas isn’t titled Wise Guy – after the book it’s based on – is that this film, a mob comedy by none other than Brian De Palma, got there first. It starts with Harry Valentini (Danny DeVito) doing a Travis Bickle impression in front of the mirror. This tells us everything we need to know about his character: he tries to act tough but is really just an errand boy for the local New Jersey mafia, alongside his friend and next-door neighbor, the Jewish Moe Dickstein (Joe Piscopo).

These two are the laughingstock of the crew led by Anthony Castello (Dan Hedaya). They’re stuck with humiliating tasks: doing groceries, testing a new bulletproof vest, and starting the car rigged with explosives.

When they’re forced to place a bet for the boss, compulsive gambler Harry bets on the wrong horse, assuming Castello’s pick would lose. Turns out the race was fixed, and now they owe him 250,000 dollars. As punishment, the boss orders them to kill each other. The wise guys catch wind of this and flee to Atlantic City, desperate to escape their predicament.

De Palma – known for suspense and gangster classics – had made comedies before, like Greetings and Hi, Mom!. While certainly no masterpieces, he developed his own style, and some jokes land: like the sped-up shot of the entire street fleeing when Harry starts the rigged car, or when Harry and Moe deliberately wreck the Cadillac they stole from a hated crew member.

It’s curious, though, that between making two of the decade’s greatest gangster films – Scarface (1983) and The Untouchables (1987) – De Palma made this pretty mediocre mob comedy.

Critics largely panned it, but Roger Ebert and Gene Siskel loved it. Ebert gave it three-and-a-half stars out of four, writing, “Wise Guys is an abundant movie, filled with ideas and gags and great characters. It never runs dry.” Siskel awarded it a perfect four stars, raving, “Big laughs, foul language to the point of absurdity, and one hilarious, screaming performance atop another combine to make Wise Guys one of the funniest times you will have at the movies this year.”

You’ll have to see for yourself if you’re one of the few people to agree.

Rating:

Quote:
HARRY: “Let’s put this ＄10.000 on my Baby to win. Or do you wanna die in Newark?”

Trivia:
Martin Scorsese’s parents – Catherine and Charles Scorsese, who are also in other gangster films like GoodFellas and The Godfather Part 3 (only Catherine) are featured as birthday guests.