‘They’re the same – he’s marrying himself!” The speaker is an aghast Bobbie Costello, played by Debra Messing, addressing her shruggingly detached mob boss husband, Frank Costello, played byRobert De Niro. They are guests at the wedding of mercurial club owner Anna (Kathrine Narducci) to Frank’s hot-tempered mafia associate Vito Genovese. And Vito is played by … Robert De Niro.This film is a laborious true-crime account of Frank and Vito’s homicidal falling out in 1950s New York, directed by Barry Levinson and written by Nicholas Pileggi, though with little of the perspective, light and shade and narrative richness of Pileggi’s earlier scripts. As Vito, De Niro is gloweringly resentful, taciturn, bad-tempered and wears glasses and a hat. As Frank, De Niro is gloweringly resentful, taciturn, slightly less bad-tempered and doesn’t wear glasses or a hat. Bobbie’s line surely has to be a meta joke about the through-the-looking-glass casting – but, really, the point of the Vito/Frank duplication is a question that is not asked or answered by the movie itself, and has echoes of thememe of the two Spider-Menpointing at each other. Is the idea that they are basically the same person? Maybe. But it’s a pedantic and self-cancelling approach, obstructing the idea of interesting and important differences in the two men, who in fact no more resemble each other than all the other hatchet-faced wise guys around them. Maybe everyone on screen, men and women, should have been played by Robert De Niro, in a Charlie Kaufman-type nightmare.Just before the war, Frank and Vito make a good living in black market alcohol and drugs and illegal lotteries as part of the Lucky Luciano crime family. Vito then flees to Italy and when he comes back to New York in 1945, he finds that his old pal is only giving him a small slice of the cake. And, moreover, stolid, cautious Frank is unwilling to expand further into drugs, having bribed his way into a cosy, pseudo-respectable position in society. Frank infuriates Vito with a professed ambition to retire and his willingness to cooperate as an un-subpoenaed witness in front of grand juries. Vito suspects (understandably) that this stance will only be carried off by selling out his former criminal pals and so orders a hit on Frank, resulting in a brutal and incompetent assassination attempt that leads to disaster.The film’s title refers to the postwar New York drinking club where Vito and Frank hung out; the movie had previously been called Wise Guys, which was perhaps too close to Pileggi’s book Wiseguy, on which the film Goodfellas was based. All the time-honoured mannerisms are here, including the old-fashioned barber-shop hit – but the movie also adds little memory moments in black and white, as well as snatches of documentary archive footage. It also has a habit of giving the old guys in the club stretches of expository dialogue to tell each other and us what is going on. When the entire nationwide mob family is busted by police at a powwow in upstate New York, Pileggi speculates that Costello deliberately contrived the meeting and reported them to the cops to save himself – a snitch move, from which the film carefully rescues Costello by sentimentally putting him in the same prison cell as Vito.There is a kind of solidity and force to the film in its opening act, but its interest dwindles and we get little in the way of either ambition or moment-by-moment humour. There is, however, a sweet, autumnal touch when the melancholy, ageing Frank is forced by his wife to take their dogs for a walk in Central Park in mink coats to keep out the cold.The Alto Knights is out on 20 March in Australia, and 21 March in the UK and US.
The Alto Knights review – double De Niro makes for a laborious true-story mafioso movie
TruthLens AI Suggested Headline:
"The Alto Knights: A Dual Role for De Niro in a Lackluster Mafia Drama"
The Guardian
7.0
TruthLens AI Summary
The film 'The Alto Knights,' directed by Barry Levinson and written by Nicholas Pileggi, presents a laborious true-crime narrative centered on the tumultuous relationship between mobsters Frank Costello and Vito Genovese, both portrayed by Robert De Niro. Set against the backdrop of 1950s New York, the story unfolds at the wedding of club owner Anna, where the complexities of Frank and Vito's partnership come to light. Bobbie Costello, played by Debra Messing, expresses her disbelief at her husband's conflicted nature, highlighting the film's unintentional humor stemming from De Niro's dual roles. However, the film struggles to delve into the significant differences between the two characters, often presenting them as mere reflections of one another rather than as distinct individuals. This casting choice raises questions about identity and rivalry, yet the film fails to explore these themes in any meaningful way, leaving viewers pondering the implications of such a portrayal.
As the narrative progresses, the film captures the decline of their relationship, beginning with their successful ventures in illegal activities before Vito's return from Italy in 1945. Tensions escalate when Frank's reluctance to expand their drug operations and his desire to retire infuriate Vito, leading to a plot for Frank's assassination. The film incorporates various stylistic elements, including black-and-white memory scenes and documentary footage, yet it often resorts to expository dialogue that detracts from the storytelling. While the film's opening act holds promise with its solid pacing, it quickly loses momentum, lacking the depth and humor that mark Pileggi's earlier works. Despite its shortcomings, 'The Alto Knights' offers a poignant glimpse into the lives of its aging characters, particularly in a touching scene where Frank is compelled to walk his dogs in Central Park, capturing the melancholy of his fading glory. The film is set to release in Australia on March 20 and in the UK and US on March 21.
TruthLens AI Analysis
The review of "The Alto Knights" presents a critical perspective on the film, highlighting its shortcomings and narrative issues. The analysis reflects a broader commentary on the portrayal of mafia stories in cinema and the complexities of character representation.
Purpose of the Article
The reviewer aims to inform the audience about the film's flaws, particularly its repetitive character portrayal through Robert De Niro. By emphasizing the lack of depth and distinctiveness between the two roles played by De Niro, the article encourages readers to question the film's creative decisions. This critical lens serves not only as an entertainment review but also as a cultural critique of how mafia narratives are constructed in Hollywood.
Public Perception
By scrutinizing the film, the article seeks to shape public perception regarding the quality of mafia films and De Niro's performances. It aims to challenge the audience's expectations of cinematic storytelling, particularly when it comes to true crime adaptations. The review may resonate with viewers who appreciate nuanced character development and storytelling, thereby influencing their choices regarding film-watching.
Hidden Agendas
While the article primarily focuses on the film itself, it may subtly reflect broader trends in the film industry regarding the reuse of actors and the lack of innovation in storytelling. By drawing attention to De Niro's dual roles, the reviewer might suggest a stagnation in creative approaches in Hollywood. However, there is no overt indication of a hidden agenda beyond critiquing the film's artistic choices.
Manipulative Nature of the Review
The article employs a critical tone that might be perceived as manipulative for some readers, especially those who hold De Niro in high regard. By framing the film as "laborious" and questioning the casting choices, the reviewer could sway public opinion against the film, potentially affecting its reception and box office performance. This use of language and strong criticism indicates that the review aims to provoke thought and discussion.
Truthfulness and Accuracy
The review appears to be based on the author's genuine evaluation of the film, drawing from cinematic elements and narrative structure. However, the subjective nature of film criticism means that while the review may be accurate in its observations, it also reflects personal opinion, making its truthfulness dependent on individual perspectives on cinema.
Cultural Implications
The article touches on the cultural significance of mafia films and their reception in society. By critiquing the film's approach, it invites dialogue about the portrayal of organized crime and the expectations audiences have for such narratives. The review may resonate particularly with cinephiles and critics who value depth and originality in storytelling.
Market Impact
Given the film's genre and the stature of its lead actor, discussions surrounding "The Alto Knights" could impact the broader film market. If the film receives a negative reception, it could discourage investment in similar projects or affect the stock prices of production companies involved. This could particularly influence shares in companies known for mafia-related content.
Relevance to Current Events
While the review itself does not directly engage with contemporary issues, the themes of crime and morality in film can be linked to ongoing societal discussions about justice and representation in media. The film's release in a landscape rife with crime dramas makes it relevant, though not necessarily groundbreaking.
Potential Use of AI in Writing
There is a possibility that AI tools could have assisted in structuring the review or generating specific phrases. However, the critical tone and analysis suggest a human touch, particularly in the nuanced observations about character portrayal and narrative depth. If AI was employed, it might have influenced the review's organization rather than the content's critical insights. In conclusion, the review of "The Alto Knights" serves as a critical commentary on the film's artistic choices, particularly the dual portrayal by De Niro. Through its analysis, it resonates with audiences who value depth in storytelling while reflecting broader trends within the film industry.