Dual De Niro’s a Knights asset
There’s an unfortunate gimmick hanging over Barry Levinson’s
The Alto Knights, a gangster chronicle that covers a heretofore
unexamined chapter in mob history, at least where the movies are concerned.
Two-time Oscar-winner Robert De Niro takes on the dual roles of rival gangsters
Frank Costello and Vito Genovese. One assumes either Joe Pesci wasn’t available
to take one of the parts off the Oscar-winner’s hands, or the veteran thespian
was simply looking for a challenge. It’s to the actor’s credit that,
eventually, the viewer is able to overlook this distraction, thanks to his
contrary dual performances and the compelling nature of the story. Yet, it’s
probable some won’t be able to make this leap and ultimately not give the movie
its proper due.
Costello narrates the story, beginning with recounting the
night in 1957 when he miraculously survived an assassination attempt. It’s
obvious to him and his allies that his one-time friend, Genovese, is behind this
act, the result of a long-simmering feud that’s reached a boiling point.
Flashbacks ensue that recount the cause of this ruction. Children
of immigrants, Costello and Genovese are friends from an early age and look for
a different avenue to success than the one their parents took. Belonging to the
Alto Knights Social Club, they soon begin to establish a reputation as petty
crooks and blackmailers, pressuring local businesses for protection they don’t
need. Joined at the hip, they ultimately make their fortune during prohibition,
growing rich by creating a vast network in New York through which they sell
thousands of dollars in liquor on the sly. However, when Genovese commits a
double homicide, he flees to Europe to avoid being charged with the crime,
leaving Costello in charge.
All of this is recounted economically, Levinson and
screenwriter Nicholas Pileggi dispensing with this necessary information in a
tight, compelling manner. They know bigger narrative fish are in need of frying
as the bulk of the movie deals with Genovese’s return to the U.S. in
the early 1950s, having reached an “understanding” with authorities. However,
he’s not happy with his situation, as the position he’s been given by
Costello, in the organization he helped establish, is far from what he thinks
he deserves. Expecting to be reinstated as a co-boss with his old friend,
rather than a simple lieutenant, the seeds of his animosity begin to grow.
The conflict that emerges between them has ripple effects
throughout the New York gangster community. The violence that erupts due to
this, as well as an extraordinary divorce case between Genovese and his wife,
draws the attention of federal authorities, and ultimately leads to hearings
conducted by the United States Senate. Though there are a great many moving
parts, it never feels cumbersome, the story engaging and surprising throughout.
As for De Niro’s dual performance, it’s a challenge he rises
to, rendering the two mobsters in a distinctly different manner that never
feels overdone. He brings a reserve to Costello, rendering him as a laidback,
reluctant mobster whose Achille’s heel proves to be his reluctance to act
aggressively. As for Genovese, he’s a live wire, his impulsivity and anger
leading to his ultimate downfall. It’s a tribute to the actor that when digital
wizardry is employed and both characters appear in a scene at the same time,
the illusion of two distinctly different personalities conversing is
convincing.
To be sure, The Alto Knights will not be mentioned in
the same breath as The Godfather, Goodfellas or other mob
classics. Yet, it is a compelling enough to be worthwhile, serving as a bridge
between the era of classic movie gangsters and modern mobsters of Tony
Soprano’s ilk, Levinson’s sure hand always at the wheel. In theaters.
Majors is astonishing in devastating Dreams
Like all of us, Killian Maddox is looking for validation.
What with his parents absent since he was a young boy, feelings of alienation
have plagued him. Suffering from a case of arrested development, Maddox’s
nearly debilitating shyness has kept him from having a traditional support
unit. His imposing size and stoic demeanor tend to frighten people rather than
pull them in. The only consistent human contact he has is with his invalid
grandfather who he lives with and cares for. And though he does have a job at a
local grocery store, he’s seen as an outcast there as well.
Realizing he can only count on himself, he’s taken to
bodybuilding, hoping to find the attention he craves in the world of
steroid-laden narcissists. Focused and determined, Maddox has transformed
himself into a muscle-bound Adonis, hoping to one day be on the cover of one of
the many magazines he devours. However, his naivety and ever-increasing rage
are hurdles that leave him vulnerable to his own faults and those who would
exploit him.
Elijah Bynum’s long-delayed Magazine Dreams is a
difficult, yet gripping examination of mental illness and desired
salvation. Driven by a staggering
performance from Jonathan Majors, it’s a film that draws immediate comparisons
to Taxi Driver and Joker in its examination of the effects of
alienation and the psychological instability that arises through such
isolation.
Bynum’s raw approach to the subject and its environment
establish a sense of realism that grounds the story and makes it all the more
tragic. There’s a lived-in feel to each of the settings. His grandfather’s home
is rundown, its rooms are tight and claustrophobic, the neighborhood in which
Maddox lives is tattered, while his car is held together by duct tape and its
driver’s will. The inescapable nature of poverty is underscored again and
again, providing key information regarding the character’s background and
motivation.
This is beautifully complimented by Majors’ performance, a
sense of desperation at the core of all Maddox does. A child in the body of a
behemoth, the actor gives us a lost boy, grasping at straws, longing to make a
meaningful human connection. A date with a co-worker (Haley Bennett) proves
revelatory as he lets his guard down, telling her of his devotion to his craft
with an intensity that proves frightening and off-putting. Unaware of the
effect he has on others, Maddox wind up as an island of want and need.
Films like Magazine Dreams are ones you tend to
admire more than like. It’s the compelling nature of the story and the artistry
through which it is rendered that keeps us hooked, seeing it through to its
bittersweet ending. Much like Taxi Driver and Joker, this serves
as a cautionary tale as well as plea for more attention to be given to mental
health awareness. It also serves as a reminder to us all, that a simple act of
kindness, a kind word or an encouraging gesture can serve as a lifeline to
those who are convinced, they are unworthy of such modest acts. In theaters.
Behavioral Intrigue at the Center of Bag
Smart, sleek and sexy, Stephen Soderbergh’s Black Bag is the antithesis of a James Bond espionage caper – though it does feature a
former 007 in a pivotal role. Intimate and intelligent, David Koepp’s script
has a modest focus – a sextet of spies – yet the implications of their actions
have potentially tragic global consequences. At its core, the film is a
collection of character studies, Soderbergh more interested in examining issues
of trust and paranoia as they exist and are manipulated by people who lie for a
living. As such, car chases, fisticuffs and action set pieces are in short
supply but hardly missed, the interpersonal intrigue captivating enough.
Two faux dinner parties frame the action, a bit of Agatha
Christie used to introduce us to the six principal characters and set the tone.
Col. James Stokes (Rege-Jean Page), a tightly wound senior agent, arrives with
Dr. Zoe Vaughan (Naomie Harris), the agency’s resident psychologist. They are
joined by Freddie Small (Tom Burke), another agent, who’s a bit rough around
the edges, and Clarissa Dubose (Marisa Abela), who works in the surveillance
division of MI6. Their hosts are George Woodhouse (Michael Fassbender) and
Kathryn St. Jean (Cate Blanchett), also operatives, whose marriage is the envy
of their peers.
Unbeknownst to all is that Woodhouse has been told there’s a
mole in the agency, and it has been put to him to root the traitor out. The prime suspects are those gathered around
the dinner table – his wife included – this meeting his first foray into
gathering revelatory clues. A behavior
specialist, Woodhouse employs a game that exploits each of his guests’
vulnerabilities and before the evening is out, secrets are exposed, some of
which add to the central mystery.
Things become even more complicated when a doomsday device
has been stolen from the MI6 labs and fallen into the hands of a Russian
dissident. How this and Woodhouse’s investigation are connected is far too
complex to go into here. Koepp’s script is intelligent and densely packed, the
film containing no scenes where bathroom breaks can be taken. That being said, you won’t want to leave as
the twists contained are so clever, you’ll find yourself eager to see what else
the writer and Soderbergh have up their sleeves.
Those looking for traditional action will likely be
disappointed. One exploding truck and three pistols are all that’s in play
during the course of the film. No, this is a parlor game set on an
international stage, one propelled by its characters’ behaviors rather than
action set pieces. It’s obvious the cast is having a great time, sinking their
teeth into their complex characters. While Fassbender and Blanchett hold
center stage and are as good as we’ve come to expect them to be, their co-stars
excel as well, Abela standing out, bringing a coquettish tinge to her role that
suggests she may be smarter than all the rest.
Far better than their Presence from earlier this
year, Soderbergh and Koepp’s Black Bag is a vibrant reminder of the
inherent pleasure derived from having our curiosity stimulated with a smartly
written, precisely executed mystery. In
their hands, no pyrotechnics are needed to thrill the audience. In theaters.
This article appears in Spring Guide 2025.
