Federal agent Elliot Ness assembles a personal team of mob fighters to bring Chicago crime boss Al Capone to justice using unconventional means during the mob wars of the 1920s. This fictionalized account of the arrest of Al Capone is heavy on style and gunfire. The end shootout combines a baby carriage and stairs with a nod to Eisenstein's _The Battleship Potemkin_. Written by
Keith Loh <email@example.com>
At the Canadian border, Ness, the other three Untouchables and the Captain are standing in a line of five. We then see the captain leave the line after he gives orders. When the camera pulls out, however, we see that the line the five of them were standing in is still intact. Someone on horseback is moving in the back, but unless someone took the captain's place, it cannot be the captain. See more »
1930. Prohibition has transformed Chicago into a City at War. Rival gangs compete for control of the city's billion dollar empire of illegal alcohol, enforcing their will with the hand grenade and tommy gun. It is the time of the Ganglords. It is the time of Al Capone.
[to Al Capone]
An article, which I believe appeared in a newspaper, asked why, since you are, or it would seem that you are, in effect, the mayor of Chicago, you've not simply been appointed to that position.
[...] See more »
The title of the aria "Vesti la giubba" from Leoncavallo's opera "Pagliacci" is misspelled in the closing credits of the film: "Vesti la guibba". See more »
Never stop fighting till the fight is done, here endeth the lesson.
As good a gangster movie that has ever been made as DePalma does justice to Mamet's electric script. The acting on show is right out of the top draw, the inevitable ease that DeNiro puts menace into Capone is quite impressive, whilst the fresh faced pugnacious tenacity of Andy Garcia's George Stone is something of a delightful experience. Yet that is not enough because we still need the central actors to carry the film if it is going to triumph. Connery is a given performance wise (accent aside of course, but then again who cares when the character portrayal is as sharp as it is here?) but it is Costner as Eliot Ness that shines like the star he was soon to become, it's a magic performance that manages to fuse genuine tenderness of family love with little trips to the dark side in pursuit of making good triumph over evil.
I love that the film is showing how violence and fear affects families, mother and child is a theme that is central to the film's heartbeat, notice how some of the more violent scenes are followed by tender scenes of Ness and his family. The set pieces here are attention grabbing entertainment, a roaring Canadian border rumpus and a smashing roof top pursuit and face off are top value, but it's DePalma gold watching a brilliant Battleship Potemkin homage at the Union train station that takes the cake as the film enters its last quarter. Surely historical facts does not matter when films are as sharp as this one is? It's frightening, touching, and even witty. So for me at least, the film is 10/10 in every department (and yes, even with Sean's accent).
Footnote: The academy saw fit to nominate Ennio Morricone for his wonderful score, yet strangely he used some of it for the main theme in John Carpenter's 1982 film The Thing, they must have missed it that time I presume! Must be the genre angle one thinks....
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