The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
In their childhood, the boys deal with hoods named Bugsy and Al Capuano. These names are probable homages to real-life gangsters Bugs Moran and Al Capone. See more »
During the scene when the young boys set the newspaper stand on fire, they run around the corner and peek through a window in the concrete which has visible spray painted graffiti on the wall, spray paint was not invented until 1949, this scene takes place in the 1920s. See more »
[In 1933, two goons rudely question a young woman]
Where is he? Where's he hiding?
I don't know... I've been looking for him since yesterday.
[second goon slaps her harshly; she falls onto the bed]
I'm gonna ask you for the last time: Where is he?
I don't know... What are you gonna do to him?
[Two shots are heard]
[to his partner]
Stay here in case that rat shows up...
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A Profound Expression of Truth Regarding Friendship andBetrayal
This film is a profound expression of truth regarding friendship and betrayal. Noodles, played by Robert De Niro and Scott Tiler (during childhood), is a simple man and a thug with one credo: you can battle the entire world but you never betray a friend. During the course of this film we experience various pieces of Noodles's life, from childhood, through young adulthood and old age. We learn what happens to his friends, his foes and the love of his life, Deborah. The time span considered is long, including Noodles's childhood shortly after the turn of the century, through the prohibition era, and finally the 1960's.
The film is about relationships; the many years Noodles spends away from his friends receive only a cursory mention. The film, like life and memories, unfolds slowly and reflectively. Sergio Leone's cuts are long and each scene is beautifully amplified my Ennio Morricone's haunting score. The story is not told chronologically. Instead, the chapters of the story are slowly revealed like pieces of a great jigsaw puzzle. Each delicious piece might make us laugh, or cry, or smile, or feel shock. But, as each piece falls into place, a mystery unfolds. When the final piece is revealed, the true essence of the story becomes clear and a sad and beautiful tapestry comes into view.
This film is a true masterpiece, expressing a profound statement about friendship and betrayal, with fantastic acting, writing, directing and music. There is a shortened, two-and-a-half-hour version of the film released that is a disaster. It is like trying to understand a jigsaw puzzle with half of the pieces missing. The original four-hour film can be viewed and enjoyed several times and each time the viewer will see something new.
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