The Last Don
"Donnie Brasco"
Al Pacino, Johnny Depp
Dir. by Mike Newell
Columbia Pictures, rel. 2-28-97
New to video in July
review by Mike Rizzo
Anyone who has seen "The Godfather" can hardly deny the appeal of mob movies; the intricacies, the shady deals, the horror, and the explication of sheer machismo that is the legend of the Italian Mafia. As one who has seen more than a few of these films, it's usually a given that mob movies chronicle life at the top. "Donnie Brasco" takes a different approach, and the result is one of the best films of the genre since "Goodfellas". Director Mike Newell's saga of the infiltration of the lower-to-middle ranks of the mob by undercover FBI agent Joe Pistone is vivid, intense, and littered with memorable performances. Not the least of which, certainly are those authored by the film's stars. Johnny Depp is Pistone, a family man with a lovely wife (media darling and soon-to-be-superstar Anne Heche), beautiful children, and a happy home. Pistone, through his cover as jewelry appraiser Donnie brasco, aka "Don the Jeweler", comes into contact with aging hitman Lefty Ruggerio (Pacino). Donnie manages to win Lefty's trust by doing him a favor with an act of cunning and unexpected force. Impressed, Lefty decides to take "the Jeweler" under his wing. Once inside, Donnie begins a slow ascent through the ranks, encountering rising boss Sonny Black (Michael Madsen), and eventually becoming an integral part of his operation. The most intriguing part of the story, though, is the friendship which develops between Donnie and Lefty. Donnie listens to Lefty's gripes, he shares Christmas dinner with him, he visits him when his drug-addicted son is in the hospital. A very real bond is shared by the two men, a bond that begins to make Pistone question his true duty. He begins to feel the allure of the loyalty, honor, and blood ties which connect members of the mafia. As he and Lefty get closer, the characters of Joe Pistone and Donnie Brasco become more and more intertwined. Interestingly, the mentor-student relationship of Lefty and Donnie echoes somewhat in the pairing of Pacino and Depp. Depp, who has long been anointed Hollywood's next great dramatic actor, has up to this point made a career playing interesting roles in unorthodox films, a la "Edward Scissorhands", "Ed Wood", etc. Here, under Pacino's watch, he graduates to big-studio success. Depp is excellent as Pistone/Brasco, as he slowly loses the psychological boundary between the two. The most intense dramatic scenes inthe film are those between Depp and Heche, who is equally good as a woman in love with, and enraged, with, a man whom she no longer knows. Good actors abound, some in accustomed roles, others not. Madsen has got his trademark cocky-boy swagger in full effect as Sonny Black, a man cleary in love with his increasing power. Bruno Kirby, hysterical as Billy Crystal's sidekick in "When Harry Met Sally" and "City Slickers", exhibits some range as a mobster who isn't exactly on the level. The highest praise, though, should go to Pacino. Yes, there are reviews which have said, "We've seen this before". I disagree. Gone are the quiet calculation of Michael Corleone and the self-destructive rage of Tony Montana; Pacino's Lefty Ruggerio is a study in righteous indignation and painful resignation. In front of Donnie, he's all bluster, complaining about his role in the organization, yet in front of his superiors, he toes the line like a good soldier. His increasing despair with his lot in life - a son who doesn't respect him, a basically dead-end job - is momentarily halted by the entrance of Donnie into his life, giving him a brief pause of hope, which is finally crushed. Pacino's performance should resonate with anyone who has experienced similar feelings. While the acting is first-rate across the board, I do have a few minor quibbles. The film's timeline is somewhat disjointed; long periods of time tend to pass between scenes, and the audience isn't always informed. More scenes of the sinking Pistone/Brasco with his children would have been nice as well, but that's somewhat picky. Also, there are a few elements of the plot which strain credibility just a little bit: Donnie seems to advance to an awfully high position without having to do too much that would get him sent to the gas chamber, if you know what I mean. Those are very minor points, and certainly no reason not to enjoy the final product. Paul Attanasio's screenplay is top-notch, and director Mike Newell shows that he can tiptoe his way from scenes of utterly abhorrent violence to very emotional drama with ease. It probably won't get him a trip to the Oscars, but after "Four Weddings and a Funeral", it proves that he certainly has an abundance of range. Speaking of Oscar, hopefully the film's winter release won't plunge it off of the proverbial radar screen; both Pacino and Depp are deserving of consideration. As Lefty would say, the Academy shouldn't "fuggedabowdit".
Stars: A Plot: B+ Script: B+
Overall: A-
Copyright 1997
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