Once Upon a Time in America (1984)

Posted on 18 oktober 2011 by Jeppe Kleijngeld

As boys, they said they would die for each other. As men, they did.

Directed by:
Sergio Leone

Written by:
Harry Grey (book ‘The Hoods’)
Leonardo Benvenuti (screenplay)
Piero De Bernardi (screenplay)
Enrico Medioli (screenplay)
Franco Arcalli (screenplay)
Franco Ferrini (screenplay)
Sergio Leone (screenplay)

Cast:
Robert De Niro (David ‘Noodles’ Aaronson), James Woods (Maximilian ‘Max’ Bercovicz), Elizabeth McGovern (Deborah Gelly), James Hayden (Patrick ‘Patsy’ Goldberg), William Forsythe (Philip ‘Cockeye’ Stein), Tuesday Weld (Carol), Treat Williams (James Conway O’Donnell), Scott Tiler (Young Noodles), Rusty Jacobs (Young Max / David Bailey), Jennifer Connelly (Young Deborah)

In the late 1970s, master director Sergio Leone turned down the offer to direct The Godfather in order to make another gangster film, this one based on the novel ‘The Hoods’ by former mobster Harry Grey. When filming was completed, the total footage ran between eight and ten hours. Leone and editor Nino Baragli trimmed it down to around six hours, intending to release the film as two three-hour features. The producers, however, rejected this idea and cut the film down to just over two hours for the American market. In doing so, they also abandoned the film’s non-linear structure, rendering the story almost incomprehensible. Unsurprisingly, the film flopped in the U.S., and Leone was left devastated.

Fortunately, a 3-hour and 49-minute version was prepared for international release, with the original non-chronological storytelling restored. Audiences overseas responded more positively, and many critics recognized it as a cinematic masterpiece. With his spaghetti westerns, Leone revealed the gritty, opportunistic side of the Old West. Here, he does the same for the American city ruled by mobsters. He strikes exactly the right tone. His sprawling gangland epic shows a world that may sparkle with a thin coat of glamour, but beneath that lies grime and plenty of it.

The narrative jumps across time, following Jewish gangster Noodles (Robert De Niro) through three phases of his life. First, his youth in the Lower East Side, where he meets his lifelong friend, the cunning but volatile Max (James Woods). In their prime during the Prohibition era, the two – along with childhood friends – rise to control a lucrative bootlegging operation. But tensions rise, and their friendship deteriorates with devastating consequences. In the third act, Noodles returns to New York as an old man after 35 years, confronting the ghosts of his past.

The fragmented screenplay may not feel intuitive, but it doesn’t need to be. The film works on a dreamlike, emotional logic. Many interpret the second half as nothing more than an opium-induced fantasy – a fugue state in which Noodles imagines a resolution, a reckoning, and perhaps a redemption that never truly came. It’s an ambiguous, melancholic meditation on memory, regret, and American myth. This is not a typical rise-and-fall gangster story; it’s about life itself. The psychological depth is extraordinary. Few films give you such an encompassing sense of a person’s entire existence: memories, pain, joy, death and, of course, love.

As with Leone’s finest work, the film is packed with haunting, unforgettable moments: Max and Noodles beaten in the alley, Noodles’ opium haze in the Chinese theater, Little Dominic dying in Noodles’ arms (“Noodles, I slipped”), and Noodles peeking through the wall at Deborah’s dance rehearsal. The art direction and cinematography render every frame like a painting, each one worthy of being hung on a wall. In that sense, this is Leone’s The Godfather.

Together with composer Ennio Morricone, Leone achieves true cinematic synergy. The film’s pacing often mirrors the rhythm of Morricone’s hauntingly beautiful score, enhancing the emotional impact to mesmerizing effect. The casting is another strength: De Niro brings nuance and reluctant sympathy to a deeply flawed anti-hero, while Woods is chillingly effective as Max. Strong supporting roles are delivered by Jennifer Connelly, Joe Pesci, Tuesday Weld, and Burt Young.

Though it may have its imperfections, Once Upon a Time in America remains a towering, influential achievement. Leone spent over a decade bringing this vision to life and it shows. It’s a shame it turned out to be his final film, but few directors could hope to end their career with something so ambitious, haunting, and unforgettable.

Rating:

Quote:
NOODLES: “You can always tell the winners at the starting gate. You can always tell the winners and you can tell the losers.”

Trivia:
Robert De Niro suggested that James Woods wear a set of perfect, bright white teeth to demonstrate Secretary Bailey’s wealth and vanity. The producers balked at the cost, so De Niro paid for them himself.

The Godfather: Part II (1974)

Posted on 5 juli 2011 by Jeppe Kleijngeld

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (novel / screenplay)
Francis Ford Coppola (screenplay)

Cast:
Al Pacino (Don Michael Corleone), Robert Duvall (Tom Hagen), Diane Keaton (Kay Adams), Robert DeNiro (Vito Corleone), John Cazale (Fredo Corleone), Talia Shire (Connie Corleone), Lee Strasberg (Hyman Roth), Michael V. Gazzo (Frankie Pentangeli), G.D. Spradlin (Senator Pat Geary), Richard Bright (Al Neri)

Francis Ford Coppola’s The Godfather: Part II is a rare sequel that not only lives up to the legacy of its predecessor but in many ways deepens and expands it. Rich with atmosphere, emotional depth, and moral complexity, this beautifully dark chapter in the Corleone saga is, indeed, an offer you can’t refuse.

Following the immense success of the 1972 classic, a sequel was greenlit almost immediately. However, with only a small portion of unused material from Mario Puzo’s original novel – the early life of Vito Corleone – Coppola and Puzo crafted an original narrative chronicling Michael Corleone’s reign as head of the family, interwoven with the rise of his father, Vito. These parallel timelines form the heart of Part II, highlighting both the legacy and the transformation of the Corleone family.

In Vito’s storyline, we witness his arrival in New York as a young immigrant, escaping the trauma of his family’s murder in Sicily. As he grows up, he confronts the oppressive rule of a local crime boss and takes the first steps toward becoming a benevolent – but ruthless – leader within the community. Robert De Niro is mesmerizing as the young Vito, embodying the character with subtlety and strength, and earning a well-deserved Academy Award for Best Supporting Actor.

Meanwhile, Michael’s narrative unfolds in stark contrast. Now at the height of his power, Michael strives to legitimize the family business and expand into Cuba, partnering with the aging Hyman Roth. But betrayal and deception close in from all sides. Al Pacino delivers a haunting performance as a man consumed by control, paranoia, and an increasingly cold detachment from those closest to him. Despite the role being arguably the pinnacle of his career, Pacino was controversially overlooked by the Academy.

The film’s production design by Dean Tavoularis and the moody, shadow-drenched cinematography by Gordon Willis once again elevate the storytelling to operatic heights. But it’s the ensemble cast that truly shines – John Cazale as the fragile Fredo, Robert Duvall’s solid Tom Hagen, Diane Keaton’s heart-wrenching portrayal of Kay, and powerful additions like Lee Strasberg as Roth and Michael V. Gazzo as Pentangeli.

Coppola’s structural innovation – juxtaposing father and son at similar ages – profoundly enriches the film. While both Vito and Michael are motivated by a desire to protect and provide for their families, their approaches – and ultimate fates – are starkly different. Vito, though a criminal, retains warmth and humanity; Michael becomes increasingly isolated, sacrificing everything in his quest for power.

This is essentially the story of Michael Corleone’s downfall. He may get to keep his power, but he is completely lost, not understanding anymore how his actions have a destructive effect on his environment. He is now estranged from his wife and then from all others around him.

In the first movie, when Michael has the heads of the Five Families murdered, it is very satisfying, but when he deals with his enemies – including his own brother – at the end of The Godfather: Part II, it has completely the opposite effect. Michael’s transformation, which started in the first movie, is now complete. He is alone with all his power and it is with that frightening image that Coppola ends this remarkable film.

Rating:

Quote:
MICHAEL CORLEONE: Connie, if you don’t listen to me and marry this man… you’ll disappoint me.

Trivia:
Marlon Brando and Robert DeNiro are the only two actors to ever win separate Oscars for playing the same character. Brando won Best Actor for playing Vito Corleone in The Godfather (1972) and DeNiro won Best Supporting Actor for playing Vito Corleone in its sequel and prequel The Godfather: Part II (1974)

Heat (1995)

Posted on 13 juni 2011 by Jeppe Kleijngeld

Directed by:
Michael Mann

Written by:
Michael Mann

Cast:
Al Pacino (Lt. Vincent Hanna), Robert De Niro (Neil McCauley), Val Kilmer (Chris Shiherlis), Jon Voight (Nate), Tom Sizemore (Michael Cheritto), Diane Venora (Justine Hanna), Amy Brenneman (Eady), Ashley Judd (Charlene Shiherlis), Mykelti Williamson (Sergeant Drucker), Wes Studi (Detective Casals)

Watching Heat recently really made me nostalgic for the nineties. Acting legends Al Pacino and Robert De Niro in the same movie? Those were the days. The supporting cast of Heat is also one to marvel at. But it’s not just the cast that makes it such a great cinematic experience. Heat is like a genius puzzle where every piece fits perfectly.

The starting point seems simple: there’s a good guy, detective Vincent Hanna (Pacino), who tries to catch the bad guy, robber Neil McCauley (De Niro). Both are dedicated professionals—so dedicated, in fact, that they struggle to maintain steady relationships. Hanna’s second marriage is crumbling, while McCauley hesitantly starts dating a woman, keeping her in the dark about his criminal life.

Writer/director Michael Mann based Heat on true crime stories. Neil McCauley, for instance, was inspired by a real person. He leads a crew of professional robbers, but as soon as they deviate from their usual approach, their perfect machine begins to unravel. Hanna is on their trail like a bloodhound. They decide to pull off one final, major heist—with Hanna and his equally professional team hot on their heels.

Yet the story goes much deeper, featuring an impressive array of side characters, each given just the right amount of screen time. In the end, the equation is perfectly balanced, and when the final piece falls into place, it’s a moment of true greatness.

The heart of the story is the relationship between Hanna and McCauley. Though they only meet twice in key scenes – once in the legendary diner scene and again in the tragic airport finale – their bond is palpable throughout.

Scenes from their private lives mirror each other, and whenever they learn something new about one another, they’re notably impressed. These two men respect each other. They’re equals in many ways, yet they’re on opposite sides of the law. Even though McCauley is far more cold-hearted than Hanna, it’s hard to favor one over the other. McCauley is such a professional that you can’t help but root for him.

Beyond the story and acting – both of which deserve a 10/10 – Mann and his crew also made the film look astonishing. The blue-lit Los Angeles feels cold and detached, a perfect backdrop for these characters, all of whom are disconnected from the world in their own way.

The direction is a triumph in itself. Every shot is like a painting, and every scene is meticulously crafted down to the smallest detail. There are a few fantastic set pieces: the two heists in the film are unforgettable, but many other scenes linger in the mind. Heat is touching, smart, cool, and extremely exciting. It’s Mann’s best film, hands down, and one of the greatest L.A. crime epics ever made.

Rating:

Quote:
VINCENT HANNA: “You know, we are sitting here, you and I, like a couple of regular fellas. You do what you do, and I do what I gotta do. And now that we’ve been face to face, if I’m there and I gotta put you away, I won’t like it. But I tell you, if it’s between you and some poor bastard whose wife you’re gonna turn into a widow, brother, you are going down.”

Trivia:
In an interview with Al Pacino on the DVD Special Edition, Pacino reveals that for the scene in the restaurant between Hanna and McCauley, Robert De Niro felt that the scene should not be rehearsed so that the unfamiliarity between the two characters would seem more genuine. Michael Mann agreed, and shot the scene with no practice rehearsals.

A Bronx Tale (1993)

Posted on 5 oktober 2010 by Jeppe Kleijngeld

‘One man lives in the neighbourhood, another man owns it’

Directed by:
Robert De Niro

Written by:
Chazz Palminteri (based on his play)

Cast:
Robert De Niro (Lorenzo Anello), Chazz Palminteri (Sonny), Lillo Brancato Calogero ‘C’ Anello (age 17), Francis Capra (Calogero ‘C’ Anello (age 9), Taral Hicks (Jane Williams), Kathrine Narducci (Rosina Anello), Clem Caserta (Jimmy Whispers)
Dave Salerno (Frankie Coffeecake), Joe Pesci (Carmine)

Set in the Bronx during the early 1960s, A Bronx Tale follows Calogero Anello, a young boy torn between two father figures: his honest, working-class dad Lorenzo, a bus driver who takes him to Yankees games, and Sonny, the local mob boss who rules the neighborhood from the bar next door. Though Lorenzo warns his son to stay away from the bar and its criminal elements, Calogero becomes increasingly fascinated by Sonny’s power and charisma.

When Calogero witnesses Sonny commit a murder outside their home, he chooses not to identify him to the police. From that moment on, Sonny takes the boy under his wing. Despite his father’s disapproval, Calogero begins to spend time with Sonny and his crew, learning street smarts that complement his formal education.

As he enters his teenage years, Calogero walks a fine line between two worlds. He avoids falling into a life of crime, but still associates with a group of reckless, racist friends. His life takes a turn when he falls in love with Jane, a Black girl from his school, just as racial tensions in the neighborhood begin to escalate. Faced with rising conflict and peer pressure, Calogero must decide who he wants to be – drawing on the contrasting life lessons imparted by his two mentors.

Robert De Niro’s directorial debut is a modest yet heartfelt film that captures the spirit of the 1960s Bronx with warmth and authenticity. Though it starts off resembling a mob drama like GoodFellas, it evolves into a thoughtful coming-of-age story about identity, morality, and the power of choice. The period soundtrack – featuring The Impressions, The Four Tops, Dion & The Belmonts, and Dean Martin – enhances the film’s nostalgic charm.

While the film tackles racial issues with sincerity, the relationship between Calogero and Jane feels underdeveloped and at times unconvincing. Nevertheless, the performances are solid across the board. Chazz Palminteri delivers a compelling portrayal of the tough yet complex Sonny, while De Niro plays against type as the principled, soft-spoken Lorenzo. Joe Pesci also makes a brief but memorable appearance.

Overall, A Bronx Tale is a touching and nuanced film that blends the grit of street life with the warmth of a coming-of-age story. It may not hit every note perfectly, but its heart is in the right place.

Rating: