ONCE UPON A TIME IN AMERICA (1984) A Film Review by Ted Prigge Copyright 1997 Ted Prigge
Director: Sergio Leone Writers: Sergio Leone, Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, and Franco Ferrini (based on the novel "The Hoods" by Harry Grey) Starring: Robert DeNiro, James Woods, Elizabeth McGovern, Tuesday Weld, Treat Williams, William Forsythe, Danny Aiello, Joe Pesci, Burt Young, James Hayden, Larry Rapp, Darlanne Fluegel, Richard Bright, Scott Tiler, Rutsy Jacobs, Jennifer Connelly
In his long career, spanning from the mid-60s to the mid-80s, italian director Sergio Leone made a total of seven (7) big films, most epic westerns, like "Fistful of Dollars" and "The Good, the Bad, and the Ugly." "Once Upon a Time in America," his final film before his death, is the culmination of everything he's ever done, so obviously it would be a tad anti-climactic. Featuring the same style, but a more experimental narrative, the film seems to be too ambiguous for its own good. But somehow it holds together, and becomes a masterpiece, and a wonderful little exit piece for the genius Mr. Leone.
"Once Upon a Time in America" is a gangster pic, but hardly the traditional kind. Sure, it embraces all kinds of cliches, like the gangsters looking absolutely fabulous all the time, substituting style for characterization, and featuring paradise discovered and then tragically lost. But Leone turns these cliches into pure brilliance, putting an interesting twist on the almost overdone genre. All of Leone's films steer clear of deep characterization, and instead focus on more grandiose themes, like amorality, betrayal, trust, and greed.
The film takes place in three time settings - 1921, 1933, and 1968 - each placed in non-linear bizarro order. In fact, the first twenty minutes of the film are a series of bizarre little vignettes, seeming to have absolutely no connection other than the fact that they all have gangsters in them. With no narration, we are left to guess what is going on, but we should actually remember exactly what occurs in this introduction, as we will be forced to revisit it in order to figure out this movie, which is structured like a puzzle.
The film takes place in three different time settings: 1921, 1933, and 1968, each visited in bizarro order. There is no underlying plot, but deals with a group of people who live in these times, and are either involved directly or indirectly with the world of organized crime. The film's protagonist is Noodles (Robert DeNiro as an adult, Scott Tiler as a kid), who starts his life of crime back in the days of prohibition.
Noodles grew up in the Lower East Side of Manhattan, which is the jewish section, and was friends with some other kid gangsters, such as Patsy, Cockeye, and Max (Rutsy Jacobs as a kid, but James Woods as an adult). Although being tempted by an attractive young girl named Deborah (Jennifer Connelly - *swoon* - at 13 - *non-swoon* - as a kid, and Elizabeth McGovern as an adult), he still prefers the company of young gangsters, and they are soon part of the whole world of organized crime.
The film also visits the 30s, where Noodles is released from prison after 12 years (he did some nasty stuff as a kid), and starts right up again with the grown-up Patsy, Cockeye, and Max. And throughout the film, we return to the late 60s, where Noodles is an old man, painfully remembering his past, and looking more ravaged and lonely than other older people. DeNiro is at his best in this film when he's old; he nails the look and feel of a man who regrets his entire life, but cannot turn time back.
The film is constructed in a wonderful fashion, unearthing facts as the film moves on. In all his films, the plot unfolds wonderfully, introducing us to things on a need to know basis. We don't know exactly why Noodles is so depressed at his old age until towards the ending, and somehow it's not anti-climactic. Leone is a master story-teller, always carefully plotting his films. The ending of "For a Few Dollars More," for instance, when we find out the true motivation for the Colonel's actions, is interesting, but not a let-down.
But unlike his other films, this has a much different feel. Sure, we get the same kind of style Leone is famous for, which several minutes of no dialogue but pure montage which are engrossing and hypnotic. And most of his characters are amoral, mainly because they can't be anything else. But for the first time, we get some true emotion from a Leone film. We feel sorry for Noodles since he spoils any chance he has to turn his life around. And instead of a simple plot, the story unfolds in an episodic fashion. But luckily, we still get Leone's knack for close-ups, cool shots, and making anyone look cool (even William Forsythe's face is as memorable as that of Henry Fonda in "Once Upon a Time in the West").
Also, Leone adds a lot of depth to the story, as well as some really analytical things. For instance, the film opens and ends in an opium shop, where the 1933 Noodles is getting high, and remembering parts of his life. Perhaps the whole 1968 part is just what he thinks will happen, a reminder that his life is going to be full of misery since he was chosen to live on the opposite side of the law. It makes for a more rewarding film experience.
The music by Leone regular Ennio Morricone is amazing as well. He creates a sad score, filled with beauty and depth. He occasionally adapts some traditional tunes throughout the film, including the Beatles' "Yesterday." Morricone has made one of his best scores for this film.
The acting is also very good. DeNiro, as I said, just looks and feels like a man regretful of what he is. And James Woods is awesome, especially in some of his later scenes. Elizabeth McGovern is actually pretty good, although her younger self played by Jennfier Connelly is better. The big scene stealer award goes to Tuesday Weld, who plays a girl who is raped by Noodles and eventually becomes Max's girlfriend. There are lots of smaller parts for semi-famous and future famous people, like Joe Pesci, "Rocky"'s Burt Young, Treat Williams, William Forsythe, and Danny Aiello.
Leone has always been a fan of long epic films ("The Good, the Bad, and the Ugly" and "Once Upon a Time in the West" are both two hours and forty-five minutes long), and this one is barely an exception. Running at a lenghty three hours and forty-five minutes, the film still never drags. Leone always keeps things moving, and is a master of montage. Sure, it's almost four hours long, but you'll never be bored, and you'll be reluctant to turn it off because it is so positively hypnotic (if you still want to see it but don't want to see a four hour gangster film, there is a two hour and fifteen minute theatrical cut, but I have no idea what they cut from it. this film is so elegantly structured that if you took thirty seconds away, the film would fall apart).
"Once Upon a Time in America" is a film which is amazingly narcotic: it's hard to stop. Leone has always had this kind of power over his viewers, and this film, the culmination of his career, is one of this best examples of this. While I still think "The Good, the Bad, and the Ugly" is a better film, "Once Upon a Time in America" is definitely one of his best, and one hell of a way to go out.
MY RATING (out of 4): ****
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