A murder inside the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years -- which could shake the foundations of Christianity.
1931. Mike Sullivan and Connor Rooney are two henchmen of elderly Chicago-based Irish-American mobster John Rooney, Connor's father. In many respects, John treats Mike more as his son, who he raised as his own after Mike was orphaned, than the volatile Connor, who nonetheless sees himself as the heir apparent to the family business. One evening, Mike's eldest son, twelve year old Michael Sullivan Jr., who has no idea what his father does for a living, witnesses Connor and his father gun down an associate and his men, the situation gone wrong initiated from an action by Connor. Caught witnessing the incident, Michael is sworn to secrecy about what he saw. Regardless, Connor, not wanting any loose ends, makes an attempt to kill Mike, his wife and their two sons. Mike and the surviving members of his family know that they need to go on the run as Connor, who has gone into hiding, will be protected through mob loyalty, especially by John, who cannot turn on his own flesh and blood. Still,... Written by
The film is set in 1931, and costume designer Albert Wolsky had real trouble finding distinctive clothing from the period. As this was the height of the Depression, fashions lacked the flamboyance of the 1920s and the style of the later 1930s when gangsterism was "fashionable". Failing to find any usable real clothes from 1931, Wolsky came across a weaver in upstate New York who was able to make all the required clothes using the same weight of fabrics that were used in that period. Once woven, the costumes then had to be aged and dyed. See more »
(at around 1h 8 mins) When Sullivan and his son drive off the road after the diner scene, tire tracks are already there from previous takes. See more »
Michael Sullivan, Jr.:
There are many stories about Michael Sullivan. Some say he was a decent man. Some say there was no good in him at all. But I once spent 6 weeks on the road with him, in the winter of 1931. This is our story.
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Thanks to all at the Donmar Warehouse Theatre, London See more »
Conrad Hall went out with a bang. The great film photographer finished his illustrious career with this movie before passing on. He did himself proud as this is one of the best-looking crime films you'll ever see.
Of course, the acting ain't bad when you have Tom Hanks and Paul Newman playing the leads! The amount of action in here is just right, too: not too much; not too little.
None of the characters in here, frankly, are "good guys" as Hanks is a professional hit-man for town boss Newman. Hanks' only redeeming quality is not wanting his young son to wind up a killer like him, although he does teach him how to be the getaway man in robberies! Huh?
As good as the acting is and as interesting as the story is, the real star of this film is cinematographer Hall, who paints scene after beautiful scene with his lens. His work is just awesome.
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