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The Ladd Company
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Crime, passion and lust for power.
A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan over thirty years later, where he once again must confront the ghosts and regrets of his old life.
CinemaSerf
May 25, 2023 · via TMDB
Told by way of a really potent (and well scored by Morricone) retrospective, this sits us down and takes us through a forty year period in the life of the now down-at-heel "Noodles" (Robert De Niro) and of the development of the city of New York. The contents of an old briefcase serve as an aide memoire as the retrospective illustrates just how he and three of his childhood friends decided that the gutter was not for them, and that using the "system" to get on was the only way. Prohibition, violence, crime, brutality were the currency back then and "Noodles" learned not to have scruples about such things. Love, romance feature too - choices, compromises and tragedy all feature as Sergio Leone and De Niro immerses us in the characterful and emotionally charged chronology. The film looks great, the attention to detail is superb, and a really strong supporting cast help offer us s sense that we are actually there for much of the time. Living and breathing the squalor, the danger, the opportunity and perhaps, the inevitability, of the paths these kids took in a the 1930s. It is very long, but that's effective rather than dull. It allows the characters to develop, to breathe and then to disappear - only, perhaps, to reappear in a different guise later on. Ageing is also a factor here too - just as they rose, others rise too with differing standards and ethics - their sense of loyalty and integrity not quite marrying up! No Oscar nominations which is really rather odd - this is easily one of the best, most authentic-looking, depictions of the rise of NYC that cinema has ever delivered. Director's cut on a big screen if you can - it helps focus the attention, shows the cinematography to best effect and helps appreciate just how vast Leone's vision was.
Filipe Manuel Neto
Oct 10, 2022 · via TMDB
**It's an excellent film, which proves the importance of good post-production, and how bad editing can ruin the whole thing.** There are certain films that impress us so much when we see them that we are really surprised when we discover how ignored they were by the great awards. This film is one of them: I was really shocked to find that it wasn't even nominated for an Oscar or a Golden Globe… and I had to read a bit to understand why that happened. The film is perhaps one of the best in Sérgio Leone's extensive filmography, and is often compared to other great gangster films such as "Godfather". I, personally, wouldn't dare to do that, but I could still put this film in the “top ten” of the great mobster films. Amazingly, it was a huge box office failure in the US because they insisted on releasing there an extremely cut version, with about two and a half hours. A version so forgettable and badly edited that no one understood the story and that the film had no chance of running for the highest awards in the industry! It was a shot in the foot and proves the importance of a good edition for the quality of the product. Sometimes a longer film is preferable to a sterile, abridged version. The script is wonderful and follows the criminal path of a small group of youngsters from a Jewish community in New York, stretching from the 20s to the 60s. The story revolves around Noodles, but the main character ends up being Max, who becomes the gang's boss. The relationship between them is very well explored. However, not everything went well: there is a love sub-plot between Noodles and Deborah that is never taken further, there are several characters that seem too sketchy and underdeveloped and there are situations that the film doesn't know how to explore as it should (the most glaring being the violent death of the youngest gang member). I just can't say how many of these problems started in the editing room, with radical cuts in the story told. Robert DeNiro was one of the first names to be hired for the cast, and had a say in the choice of several other actors. DeNiro is impeccable, and he provides us with excellent quality work. Moreover, I think that this helped to glue the actor's image a little to the criminal films in the popular imagination, along with “Taxi Driver” and “Goodfellas”. James Woods is also amazing in the role he has been given and leaves with this film his greatest film work. Elizabeth McGovern also does very well here, although I feel that the actress was not able to make her career take off afterward (I only saw her really successful now, with “Downton Abbey”). I also liked the brief, but remarkable, participation of Jennifer Connelly, still very young. And I feel sorry for Joe Pesci, because the actor is wasted by appearing only in a couple of scenes (perhaps another victim of the radical cuts in the editing room). Leone uses everything he knows in this film and provides us with incredible, beautiful cinematography, which knows how to take advantage of slow camera movements, close-ups in the most striking scenes and intense colors. The flashbacks are quite well-marked, and anyone familiar with the cinematic resource will have no difficulty in following the temporal advances and retreats that take place. The special effects do their job well, the costumes are excellent, and the characterization has its moments (DeNiro has been masterfully aged, and very much resembles what he is today). As a film where crime and violence are things we expect to find, we have an array of violent scenes and graphic situations that include not only brutal murders, beatings and shootings but also teen sex, voyeurism and, most notably, a long and particularly graphic rape scene. It's not a movie for the faint-hearted. A final word for the soundtrack, by Ennio Morricone. It is highly regarded by connoisseurs and I admit it works, but I'm not a fan of the pan pipe. I feel it gives the film an oriental touch, it would be something I would expect more from a martial arts film soundtrack.
Andres Gomez
Mar 15, 2013 · via TMDB
Stereotypical Sergio Leone film with endless waitings and sight crossings. One of the performances that made Robert de Niro de actor he is and an interesting way of telling a story and the evolution of America during the years of the alcohol prohibition.
User reviews courtesy of TMDB.
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Amazon Video
Apple TV Store
Google Play Movies
YouTube
Fandango At Home
Robert De Niro
Noodles
James Woods
Max
Elizabeth McGovern
Deborah
Joe Pesci
Frankie
Burt Young
Joe
Tuesday Weld
Carol
Treat Williams
Jimmy O'Donnell
Danny Aiello
Police Chief Aiello
Richard Bright
Chicken Joe
James Hayden
Patsy
William Forsythe
Cockeye
Darlanne Fluegel
Eve
Richard Foronjy
Whitey
Robert Harper
Sharkey
Olga Karlatos
Woman in Puppet Theatre
Mario Brega
Mandy
Frank Gio
Beefy
Scott Schutzman Tiler
Young Noodles
Rusty Jacobs
Young Max / David
Brian Bloom
Young Patsy
James Russo
Bugsy
Clem Caserta
Al Capuano
Paul Herman
Monkey
Joey Faye
Adorable Old Man
Tandy Cronyn
Reporter #1
Arnon Milchan
Chauffeur
Marcia Jean Kurtz
Max's Mother
Estelle Harris
Peggy's Mother
Jennifer Connelly
Young Deborah
Salvatore Billa
Beefy's Thug (uncredited)
Scott Coffey
Bugsy's Gang (uncredited)
Marco Stefanelli
Bugsy's Gang (uncredited)
Bruno Bilotta
Chinese Theater Spectator (uncredited)
Mark Frazer
Pimp (uncredited)
Maria Pia Monicelli
Prostitute (uncredited)
Rossana Canghiari
Speakeasy Patron (uncredited)
Ryan Paris
Speakeasy Patron (uncredited)
Claudio Mancini
Syndacalist (uncredited)
Louise Fletcher
Director of Riverdale Cemetery
Osvaldo Desideri
Set Decoration
Raffaella Leone
Assistant Costume Designer
Gabriella Pescucci
Costume Design
Benito Stefanelli
Stunt Coordinator
Dennis T. Benatar
Assistant Director
Sergio Leone
Director
Zach Staenberg
Additional Editor
Nino Baragli
Editor
John Newby
Gaffer
Robert Benmussa
Consulting Producer
Claudio Mancini
Executive Producer
Arnon Milchan
Producer
Simona Patitucci
Production Assistant
Ennio Morricone
Music Director
Gheorghe Zamfir
Musician
Ennio Morricone
Original Music Composer
Jean-Pierre Ruh
Sound Engineer
Franco Arcalli
Screenplay
Franco Ferrini
Screenplay
Leonardo Benvenuti
Screenplay
Sergio Leone
Screenplay
Jun 1, 1984
Oct 12, 1984
New York Film Festival
Oct 14, 1984
New York City, New York (Uncut Version)
Aug 1, 1985
Oct 23, 1992
Los Angeles, California
Nov 23, 2012
New York City, New York (Director's Cut)
Sep 27, 2014
New York Film Festival
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Versus
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Return Engagement
1978
That Dizzying Crest
2013
Sign in to vote
Battle your watched movies head-to-head
Community Top Movies
Evil Dead II
1987 · 14 wins
The Dark Knight
2008 · 14 wins
Final Destination
2000 · 12 wins
Top Gun: Maverick
2022 · 11 wins
Joker
2019 · 11 wins
Trivia
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