Goodfellas.

Review #1496: Goodfellas.

Cast: 

Robert De Niro (Jimmy Conway), Ray Liotta (Henry Hill), Joe Pesci (Tommy DeVito), Lorraine Bracco (Karen Hill), Paul Sorvino (Paulie Cicero), Frank Sivero (Frankie Carbone), Tony Darrow (Sonny Bunz), Frank Vincent (Billy Batts), Chuck Low (Morris Kessler), Frank DiLeo (Tuddy Cicero), Henny Youngman (Himself), Gina Mastrogiacomo (Janice Rossi), Catherine Scorsese (Tommy's mother), Charles Scorsese (Vinnie), Suzanne Shepard (Karen's mother), and Debi Mazar (Sandy) Directed by Martin Scorsese (#990 - Taxi Driver, #992 - The King of Comedy, #1276 - Mean Streets, and #1463 - Raging Bull)

Review: 

"You think you're doing something at the time, and that gets you through it. And maybe it changes over the years. A picture takes on a life of its own."

A great movie can come out of a little observation. In this case, a little bit of observation over the life of a mobster resulted in one of the best films of the 1990s, with others going farther in calling it one of the greatest ever made, with an influence that has reached across other media that took inspiration from its content and style, most notably with David Chase and his television series The Sopranos. The basis for the film is the 1985 non-fiction book Wiseguy: Life in a Mafia Family by Nicholas Pileggi, which was about the exploits of Mafia mobster-turned-informant Henry Hill over the course of 25 years, and the film would follow a majority of the beats covered by the book (aside from a few name changes and certain omissions, such as Hill's hustling while enlisted in the United States Army). Scorsese was first interested in the book while in production on The Color of Money (1986), liking its documentary-style writings of how the Mob worked while beginning it "like a gunshot and have it get faster from there". There is a natural way to how everything flows together in this film, where one feels at ease with time when viewing the life of these wiseguys, with a script (done by Scorsese and Pileggi) that had improvisation that one can see at key points in the film. For example, the "How am I funny?" sequence was actually based on Pesci's experience as a waiter serving an actual wiseguy in a restaurant, which was acted and rehearsed with Pesci and Liotta before being constructed by Scorsese from the transcripts (since this was not actually in the original script). Scorsese was inspired by Jules and Jim (1962) with its use of voiceovers, while deciding to do a mix of the traditional narrative that would start in the middle and move backward and forward. 

Although Hill was not directly involved with the film, De Niro talked to both him and Pileggi (who let them use research material not in the book) in preparation of the role from his walk to how he ate his food, while Liotta listened to tapes of Hill talking to Pileggi, which would be key in the narration in how dynamic it is to the story being told. This is a film with plenty of nuance that handles its subject with precise execution in its cast and direction that spring for several memorable moments mixed in with swift and clear-cut violence that make a fascinating look upon a unsavory-yet-captivating world of crime. It moves at an efficient pace that uses its 145 minutes to tell a well-cut story that has the classic Scorsese hallmarks of quick cuts alongside frantic style (in an attempt to show a "punk attitude", he stated) and key choices of music to go alongside key moments. Liotta is our focus (and voice) for the film, and he does a tremendous job with being our center of unflinching energy that draws us in as well to a certain lifestyle through his eyes with conviction. De Niro proves just as prepared, wrapped in relentless gravitas that carries the film with naturalness. The third leg of our trio is Pesci, who moves along with crazed unflinching energy that attracts us with that early question about a funny wiseguy that keeps you on your toes (the scene with him and C. Scorsese involving cutting a deer and a painting proves just as well in improvised morbid energy). Bracco goes along with the action with frenzied perceptive timing that carries the film with her own narration as someone who enters in the action and stays in that web of crime, even with such turbulent (but fascinating) chemistry with Liotta, such as the moment where she has him in bed with a gun on him. Sorvino rounds out the cast with a collected presence that has plenty of stature and coldness for one to fear and appreciate whenever on screen. The others in the cast (including real-life mobsters cast as extras) prove fine in lending presence and body language to the key moments of the film, which can lead to some tension or a bit of humor (including the famed one-liner comedian Youngman) that make the shifting from youth to adult crime for our lead all the more easier. It handles its moments of violence with cold-cut effienct, never shying from depicting the lifestyle it wants to show in all of its honesty (for a film at least) that runs the gamut of ambition, avarice, and paranoia in all of its unseemly glory. Three decades have only brightened the legacy of this film, an achievement for its cast and director in execution that has kept it in the public consciousness as a seminal crime film for the 1990s and beyond.

Overall, I give it 10 out of 10 stars.

Raging Bull.

Review #1463: Raging Bull.

Cast: 
Robert De Niro (Jake LaMotta), Cathy Moriarty (Vickie LaMotta), Joe Pesci (Joey LaMotta), Frank Vincent (Salvy Batts), Nicholas Colasanto (Tommy Como), Theresa Saldana (Lenore LaMotta), Mario Gallo (Mario), Frank Adonis (Patsy), Joseph Bono (Guido), Frank Topham (Toppy), and Lori Anne Flax (Irma LaMotta) Directed by Martin Scorsese (#990 - Taxi Driver and #992 - The King of Comedy, and #1276 - Mean Streets)

Review: 
"Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our life time, we need to keep them alive."

"I just can't fake acting. I know movies are an illusion, and maybe the first rule is to fake it, but not for me. I'm too curious. I want to deal with all the facts of the character, thin or fat."

It should only figure that one of the best films of the 1980s came about as a chance for Martin Scorsese to save his life and career and for Robert De Niro to have a soulfully devastating performance to lead a film of tremendous quality in their fourth collaboration together. This was the seventh film directed by Scorsese, with his previous effort in New York, New York (1977, a tribute to classic musicals) having been a failure with audiences that had led him to depression and an addiction to cocaine, which nearly led to his death. It was De Niro who had pushed for Scorsese to try and make a film about Jake LaMotta, who had written an memoir in 1970 called Raging Bull: My Story (which he said had a lot of heart despite not being a great book), which had depicted the noted rough fighter's life from youth to the end of fame that was comprised of moments such as his troubled childhood and struggles with the mafia and his own demons outside the ring. De Niro spent years trying to convince Scorsese to take up the project, since he was not a fan of boxing (or sports in general). Scorsese treated this film as if it could have been his last, and it would not prove to be the easiest of shoots for anyone, not particularly for its star or director. It's interesting to note the boxing sequences, which only last a fraction of time in a two-hour film and the fact that they were shot first over a period of ten weeks (having been designed on paper first and meant to be done over three weeks). The film was written by Paul Schrader and Mardik Martin, which went through a number of re-writes, with Scorsese and De Niro being soon tasked to do re-writes that were quite significant in molding the film's content, such as eliminating the depiction of LaMotta's father (it should be noted that Schrader's initial re-write, though thought to be potentially X-rated, was the one that had added Joey to the script) alongside the calm re-enactment sequence at the end from On the Waterfront. One great technique that helps in making this such a distinct boxing film is the way those scenes are shot - inside the ring, with distinct sounds that make for a raw and intense experience to view, particularly since the editing (done by Thelma Schoonmaker) cuts everything together with finesse to where one never gets lost in seeing this descent for 129 minutes.

For an actor who is tasked to play such a tormented man over the span of several years, De Niro sinks right into the part with no difficulty at all in an electrifying performance of the soul. This plays out whether when in the ring (having been trained by LaMotta and actually participating in three matches) or when confronting the people that know and love him with his jealousy and self-destructive tendencies as the film goes on and as he starts to wither down and grow old (having gained 60 pounds for the last half of the film) and he has to face his toughest opponent - trying to find redemption. One can't take their eyes off him and his seething performance that beats at you with a tremendous punch every step of the way. Pesci (known by Scorsese and De Niro because of his debut performance in The Death Collector four years prior) proves to be just as great in following along the action as one with plenty of raw spirit in keeping up with De Niro (with occasional confrontation) that make for captivating scenes, particularly with their last one together, where one tries to do a reconciliation, filled with quiet awkwardness to brilliance. Moriarty, making her film debut (thanks to Pesci), proves just as capable in her role, resourceful and knowing as the time goes by for the film. The rest of the cast prove just as well in filling the grimy world around the film, one that dares you in with a stark look from Michael Chapman in cinematography to go alongside tremendous ambition from Scorsese to show a man on the edge without any false sentiment or step. It seems obvious now to call it a masterpiece, although it had a gradual rise in reputation (having proved a fair hit with audiences) that is now considered one of Scorsese's best films (along with one of De Niro's best). With a stark devastating look and feel and a great director and trio at hand, you can't go wrong with this film, one that lands its punches everywhere in emotion.

Overall, I give it 10 out of 10 stars.