Displaying items by tag: Robert de Niro

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?

EZRA

US, 2023, 101 minutes, Colour.

Bobby Cannavale, William E.Fitzgerald, Rose Byrne, Robert De Niro, Whoopi Goldberg, Tony Goldwyn, Rainn Wilson, Vera Framiga, Matilda Lawler.

Directed by Tony Goldwyn.

While there have been a number of films dramatising autism and its effect on those on the spectrum (for example the very striking Temple Granted with Claire Danes), this is very audience-friendly look at an autistic boy.

Audiences will be sensitive to the issues, the emergence of awareness of autism in more recent decades, consequences for family life and parenting, for education opportunities whether in the community or specialised schools, the issues of medication for “normalising” the autistic person.

The screenplay for this film was written by Tony Spiridakis, based on his own experience with his son and, as he has noted, his learning how to finally step back from trying to control his son’s life. He has been a long-time friend of the actor-director, Tony Goldwyn, and Goldwyn has directed this film as well as taking a small role.

‘The film also had multiple autistic crew members on set to ensure its authenticity. Other cast members were directly related to a family member who has autism. Throughout the production, the creators screened different versions to the autism community for feedback.’ (Wikipedia entry on the film.) This is the case with Robert De Niro who plays the grandfather here.

Film opens with Ezra aged about 11, having great difficulties at school, fighting, on the verge of being suspended. Young William A.Fitzgerald is very convincing as Ezra. His parents are divorcing. He lives with his mother, Jenna, Rose Byrne, devoted, anxious, supported by her lawyer, Tony Goldwyn. But there are frequent visits from his father, Max, Bobby Cannavale very powerful and emotionally-charged in perhaps his best screen performance. He plays a stand-up comic and writer, taking his son to the performances as his supportive Mojo. However, he wants his son to be “normal”, in ordinary school with ordinary students, and is highly suspicious of any medication for the autistic condition.

Max lives with his father Stan, De Niro, asserted past which need some kind of resolution and apology.

The film dramatises the plight of the young boy, determined, sometimes fixated in autistic mode, devoted to each of his parents.

After an incident, almost an accident with Ezra being injured on the street, Max’s tension becomes even higher, assaulting the doctor in the hospital, arrested, a restraining order, becoming desperate and kidnapping his son, intending to travel to Los Angeles for a spot on the Jimmy Kimmel show, organised by his agent, played by Whoopi Goldberg.

With police intervention, Max takes refuge in the home of an old friend, a sympathetic Vera Farmiga, whose daughter involves Ezra in play, and introducing him to a horse, patting it, befriending it, some moments of freedom and joy.

The climax occurs in the Jimmy Kimmel studio, Jenna arriving with Max’s father, the police and the authorities, clash, Max arrested.

However, there is a more peaceful ending, Max calming down, Jenna and caring for Ezra – and an enjoyable Jimmy Kimmel show postscript.

An audience-friendly film on issues of autism.

1. The focus of the with police intervention, film on Ezra, age, autism, symptoms, behaviour, relationship with father, with mother, was grandfather?
2. The New Jersey setting, homes, streets, schools, police precincts, jails, comedy clubs? The American countryside, the journey to Michigan, the farm, the horses? The roads, diners along the way? The Jimmy Kimmel studios? The musical score?
3. The screenplay, Tony is very darkness and his experience with his own son, the cast with family connections to autism, autistic members of the crew? The testing out of sequences?
4. The audience entering the situation, Max and Jenna, marriage, Ezra, is autism, the years passing, is experiences at school, the parent being called in, the violence and his outbursts, expulsion?
5. Max, his devotion, taking Ezra to his stand-up comic digs, his Mojo? Ezra and his responses? The bond between father and son? Jenna, the day by day care, the divorce proceedings, a relationship with Bruce, lawyer, his advice? The scenes at home, care for Ezra?
6. William A.Fitzgerald and his presence and performance as Ezra? Manner, the symptoms of the spectrum, way of speaking, movie quotes, reactions, violence, not being touched, bananas, phobias? It shrewdness? At home, at school? His dislike of Bruce? Going to the club, the theme of the big Lebowski? Home late? Jenna’s reaction?
7. Robert De Niro is the grandfather, Pop-pop, the back story as it unfolded, difficult, cooking for the military, hard on his wife, her abandoning the family, Max thinking it was to blame? Living at home with his father, the memories of the past, his father’s severity, violence? His father as a doorman at the hotels? Max taunting him about his parking sign, his military service, cooking? The difficult relation with Jenna?
8. Max, relationship with his agent, Jane, her bookings for him, his performance after the experience of Macs, overhearing Bruce, interpreting literally, rushing out, the dog, taxi, hospital? Maxes hope reaction at the hospital, attacking the doctor, the arrest, the police, release, his doing a deal? The performance of the club and it’s sad ending, is talking about his doing the deal? The decision to abduct Ezra? Is being on probation with the law? Phoning his father?
9. It is, the discussion about medication, maxes hostility, saying the doctors were exploiting the drugs, political issues? Jenna finally desperate, calling the police, their upbraiding her because of the delay, the Amber Alert? On television, the roadblocks…?
10. Max and his friendship with Nick, Nick in the camp, the Senegalese nun, Ezra tantrums, metallic cutlery, the eating with their fingers…? Nick, support for Max?
11. The journey, Ezra and his reactions, returning to his roots, police cordoned, driving through the woods, stranded, Ezra running away, reconciliation, getting the lift, going to see Grace, who welcome, memories of the past, Ezra with Ruby, the other children, her helping him to befriend the horse and its effect on him? Running and playing? The police arriving, grease giving them the car, travelling to Los Angeles?
12. Jenna, desperate, trying to contact the grandfather, throwing stones at his house, at his work at the hotel, his finally telling her where they had gone, the drive, the attack on Nick?
13. Grandfather see father and son in the diner, relating will, talking with Max, his confession about the past and his sorrow?
14. Everybody in Los Angeles, the Jimmy Kimmel studio, the preparation for the gig, the police arriving, the Amber alert, Ezra and not wanting to be touched, the police, cuffing his father, Ezra’s attack, generally desperate?
15. The aftermath, Max on probation, working with Jenna, the school, his taking him? Possibilities for Max to accept reality, not wanting to control?
16. The credits sequence, Jimmy Kimmel, the return to the studio, the joke about being arrested, performance?