Displaying items by tag: Barry Levinson

THE ALTO KNIGHTS

US, 2025, 125 minutes, Colour.

Robert De Niro, Debra Messing, Kathrine Narducci, Cosmo Jarvis, Michael Rispoli.

Directed by Barry Levinson.

Revisited. The Mafia revisited.

Over 50 years ago, worldwide audiences became powerfully aware of the Mafia and its activities in the United States with the release of Francis Ford Coppola’s The Godfather. For the next half century and more, there have been many, many Mafia films, organised crime dramas, especially with the intensity from Martin Scorsese, the 30 years from Goodfellas to The Irishman. Cinema audiences have been fine-tuned to responding to these films for a long time.

Which puts The Alto Knights to some disadvantage, high expectations from audiences. And, there is the Robert De Niro connection, his first Oscar for portraying the young Vito Corleone in The Godfather 2, then with Scorsese, Goodfellas, Casino, The Irishman. More expectations.

Another factor is that this film has been made by Hollywood veterans, Robert De Niro, and director, Barry Levinson, in their 80s. Writer, Nicholas Pileggi (famous journalist investigating crime in the 1950s, writer of Goodfellas and Casino) and longtime prolific producer,  Irwin Winkler, both in their 90s. This is very much a film in retrospect, of interest to audiences who have focused on Mafia films, perhaps not striking enough for audiences who have seen most of it before.

The casting director has obviously made great attempts to give the look of authenticity with so many of the supporting cast playing gangsters having strong Italian names.

One of the great attractions for this film is that Robert De Niro plays the two Mafia chiefs of the 1940s and 1950s, Frank Costello and Vito Genovese. And, while he shows that they have a great deal in common, their childhood friendship in the club The Alto Knights, they also fell out and there are considerable differences, Frank Costello, generally calm and calculating, Vito Genovese more of a psychopath. (And, as we watch De Niro as Genovese, he often looks as if he is channelling performances by Joe Pesci in such films as Goodfellas).

In some ways, this film is a vindication of Frank Costello and the condemnation of Genovese. It is narrated by Costello, a quiet mastermind in organising rackets, starting with bootlegging during Prohibition, building up a network, and establishing a facade of respectability, aided by his devoted wife of almost 40 years, played strikingly and unexpectedly by Debra Messing.

The main action of the film takes place in the immediate aftermath of World War II, Genovese returning from years in Sicily after fleeing murder charges in the US, determined to be the boss, eventually putting a contract on Costello which fails, and a climax with the drama of the meeting of all the Mafia chiefs at the Appalachian rendezvous, Costello masterminding again, the police swooping, Mafia chiefs to jail, including  Genovese who died there.

A subdued postscript as Costello retires with his wife, cultivating roses, winning a competition, quietly complacent as he dies with his criminal life achievement.

1. The title and tone? The old club for young Italians in New York City?
2. The place of gangster films about the Mafia in American cinema, from the 1970s with The Godfather, so many films through the decades, the influence of Martin Scorsese? The presence of Robert De Niro?
3. Writer, director producer, star, their careers over the decades, now in their 80s and 90s, the perspective? Gauging the potential audience, older audiences, younger?
4. The device of having Robert De Niro play the two central characters? His skills, differentiating the personalities, some confusion for audiences?
5. The focus on Frank Costello, how well-known from of the gangster films, his narrating the story, audience sympathy for him, his explanation of himself, the flashbacks and photos, the footage from the period, Prohibition, bootlegging, his establishing himself, the rackets, continuing into the 1940s, the friendship with Vito Genovese, the break, Vito Genovese and the murder charges, to Italy, absent during World War II, his return? Friendship, rivalries, competition? The attempt on Frank Costello’s life, the wound, his surviving, in hospital, released, the police questioning, his saying he did not see the shooter? 38 years of marriage, his devotion to his wife, her support?
6. Frank Costello, criminal, respectability, works of charity? His wife? Her charm and personality, Jewish background, flashbacks to their meeting, dancing, wedding? The effect of the attempt on Costello?
7. De Niro as Vito Genovese, in the Joe Pesci style of performance, intense, psychopath? His past, the murders, exile, return, his close friends and their continued support, advice? Rivalry with Frank Costello, giving the order, Vincent, the shooting, his failure, the return, the rebukes, hs continuing to work for Vito Genovese the? Chauffeur?
8. The flashbacks about Vito Genovese? Anna, the club, her personality, Vito and his intervention, marriage, the romance, falling out, his intervention to get the money, the confrontation, her boyfriend? His later being shot? The importance of the divorce court proceedings, her incessant talking, his nonchalant attitude, denials, alleging respectability? The granting of the divorce? The consequences? Anna and her continued phone calls to Bobby Costello?
9. Kefauver and the politicians, the atmosphere of the 50s, against crime and communists? Performer on the television show? Publicity, for those combating organised crime? The hearings, Vito Genovese and the others all taking the fifth, No Comment. Mentioning Costello, his tactic of Costello offering to come, and some questions, the challenge, his declaring he was an ordinary citizen and walking out?
10. Costello’s plan to defeat Vito Genovese? The promise to hand over the leadership of the Mafia families, the arrangement of the meeting, the location in the appellations, the farm setting, the invitation going out, everybody turning up, the cars, the farm, the welcome by the locals, meal and the celebration?
11. The background of Costello and Albert Anastasio, bodyguard and support, the plan for him to go to Cuba, Vito Genovese puzzling, the hit, the death in the arber’s salon? Costello’s reaction, Albert’s wife and family Bobby Costello’s support?
12. Costello and his driver, delaying going to the meeting, stopping for coffee, buying apples, supplying the information?
13. The police patrols, more police binoculars, calling in, the number plates, young man checking cars in the mud, his informing the group, the panic, everybody running everywhere, , rounding them up, the arrests? The consequent prison sentences, and Vito Genovese in dying in jail?
14. The aftermath, Costello talking about respectability, growing flowers, his wife’s support, winning the competition, and finally dying quietly?
15. Another chapter in American Mafia history?

THE SURVIVOR

US, 2021, 129 minutes, Colour.

Ben Foster, Billy Magnussen, Vicki Krieps, Peter Sarsgaard, Danny DeVito, John Leguizamo, Dar Zuzovsky, Paul Bates.

Directed by Barry Levinson.

The Survivor is well worth seeing.

This is the story of a Holocaust survivor, Harry Haft. While the film opens in 1963, Haft obviously a survivor and having prospered in some ways in the United States, the main action of the film takes place in 1949. And, within this framework, many flashbacks, filmed in black and white, the concentration camp. Audiences who appreciate the films which go back into the concentration camps, will find this most telling.

The film has been directed by veteran Barry Levinson, Oscar winner for Rain Man, writer of many films and then very successful as a director. And he is working with a complex screenplay effectively written by Sydney born Justine Jule Gilmer, whose early work was for Australian television, McClouds Daughters, Packed to the Rafters. The Survivor is her first film screenplay and he has written another screenplay about Irena Sandler, the Polish Catholic who rescued so many Jews from the ghetto

This is also a sports film. Harry Haft was separated from his girlfriend when she was taken to the camps, he surviving, chosen by an SS commander, played by Billy Magnusson, to find bouts for the entertainment of the Nazis, betting, and this is a great entrepreneurial success. These flashbacks also give the opportunity for audiences to see the harshness of life in the camp, the fights, and the final explanation by the commander about his attitudes towards the war and Nazi philosophy as well as a final confrontation between the two.

In 1949, Haft continues some boxing training and wants to fight against rocky Marciano despite his often lack of success in the ring. Very strong supporting cast for the training includes John Leguizamo as well as Danny DeVito, working for Marciano, but Jewish sympathies and taking time off to prepare Haft so that his defeat would be so devastating.

And there is the human story, Haft determined to find his lost girlfriend, encountering a young woman who works in a company searching out identities. They go out together, her supporting him, often exasperated with him, eventually marrying him.

Which means that this is a very strong film in terms of the Holocaust and Jewish tradition. But it is also a strong film in terms of the American sports world. And, in 1963, there is a very sad ending but one of affirmation for Harry Haft. The film is based on a book written by his son.

1. Based on a true story? A book by Harry Haft’s son?
2. The title, the concentration camps, Harry’s motive for survival, the United States, the boxing world picture and survival, surviving in the US?
3. The time frame, the opening in 1963, the range of flashbacks and their insertion, Poland and the concentration camps in black and white, 1949 and the boxing world in colour, 1963? The musical score, the Jewish melodies, hymns and chants?
4. The performance by Ben Foster, such loss of weight for the concentration camp scenes, putting on weight for the later 1940s and the 1960s episodes? The intensity of the performance, audience interest, like and dislike, sympathetic and unsympathetic?
5. The framework of the 1960s, audience knowing that there was some kind of happy development?
6. Harry, Polish Jew, with Leah, idyllic, her throwing stones, the arrest, her disappearance, Harry and his quest to find her, with the agency in New York, with Miriam, his angers and intensity, memories, yearning?
7. Harry in New York, his best friend, the boxing world, the gyms, his fights, friends, trainers? His defeats? The intensity of the boxing sequences? His wanting to fight Rocky Marciano, to get his name mentioned in the press, that Leah might see it (and the irony from the 1960s when she says she did see the write-ups but did not make contact)? The approaches, the discussions, the scepticism, finally getting the bout?
8. Harry and his training, the trainers and their personalities, working with him, the techniques, the importance of the dancing movements and his abilities? His visit to Marciano’s camp, the meeting with Charlie Goldman, Polish Jewish background, the warnings, ousting him, but having the camp with him, doing the training, that he should lose better and with more dignity that he might have? The importance of the fight, the result?
9. Harry, his moods, falling out with his friend?
10. The issue of the journalist, wanting his story, his friend wanting to keep quiet? The journalist and his questioning, Harry and his moods, the flashbacks, the story and the publication? The journalist watching the fights? And his promising to get information on Leah?
11. The importance of the flashbacks, the black-and-white photography, Harry and Leah her arrest? In the camp, amongst the many, the cumulative effect of the flashbacks and the narrative of his life in the camp, his friend and saving him? The parades, the hunger, the hard work, Harry and his attack? Schneider seeing him?
12. The significant events for Harry, Schneider patronising him, training him, the fights, to entertain the SS, the betting? The first fight, Harry and his reluctance, the appeal of the opponent for him to die with dignity, beaten, shot? The body taken away? The sequences of bodies, wagons, into the holes?
13. The consequences for Harry, Schneider and his character, smart and smooth, exploitative, yet some soft touches, the conversations, the training, the various bouts, his success, having to prove himself? The long sequence of the 30 rounds, the exhaustion, Harry and his reputation? The Jewish prisoners watching, the band playing, Harry and his being disliked, making his way through the crowd, for the celebration of Yom Kippur?
14. The insertion of the flashbacks of various stages in the story of the 1940s, the buildup to Harry, the possibility for escape, the confrontation with Schneider, his death?
15. Miriam, at the office, his insulting the head despite all the work, Miriam talking with him, going out with him, the boxing, his harshness, her being insulted, his pursuing her? Over the years, the marriage, her giving up her job, her character, her life with him?
16. The 1960s, the family, the shop, his work, the fruit? The children? His harshness on his son, thinking the son soft, wanting to train him, not telling him the story about his life?
17. The Germans, reappearing, the information about Leah? The family on holidays, at the beach? Miriam anxious? Harry, going off, the encounter with Leah, her life, her health, the discussions, his son watching? 20 years of Harry’s wanting to know her whereabouts, and finally meeting to say goodbye? And explaining his story to his son?
18. Harry living longer, his wife even longer, his children, and his son writing the story?