Once Upon a Time in America

Because there is an even longer director's cut and a short 130 minute version which was the version initially released in America, and is incomprehensible.

The film traces the lives of four Jewish gangsters from a New York City ghetto through 60 years of 20th century history in an odd way. It focuses on three time periods - 1920 when the gang is in their teens, 1932-1933 as prohibition ends, and 1968 when Noodles (Robert DeNiro) returns to New York as an old man after he gets a letter saying his true identity has been uncovered. Noodles has been living with regret this past 35 years, because he feels responsible for his gang having been killed by the police back in 1933. He wonders if someone is planning to settle an old score with him.

The Godfather this is not. There are no family ties binding any of these characters together, and they are extremely unlikeable and only vaguely characterized. Only Noodles is humanized even a little bit, and then he ruins that by turning out to be a rapist as well as covering the requisite thief/murderer territory that comes with being a gangster.

What does it do right? The cinematography by Tonino Delli Colli captures the gritty vibrancy of New York's Lower East Side, the glitz of the Prohibition era, and the melancholic decay of the 1960s. There is great attention to period detail, from costumes to production design, immersing the viewer in each era. Then there is that memorable score. As for the acting, De Niro shows the versatility that he always does, and James Woods as Noodles' best friend and gangster ally Max plays the part as ambitious and cunning. Plus Woods always injects just a little bit of crazy int his performances.

What did it do wrong? Leone's last film has the same problem with editing that Scorsese has had with his later films. It's just too long and has lots of side stories about union bosses and strikes that add nothing to the narrative. Finally, there are a total of two rapes in this film, with one of them actually being played for laughs. Leone did this in "Duck You Sucker" and caused me to lose all sympathy for Rod Steiger's character as a result. Does Leone not get how such crimes are received in the United States?

Overall this film actually transcends the gangster genre. It's not about family or the gangster lifestyle. It's about the passing of time, guilt/regret, memory, friendship and growing old. It's also just as much a mystery as it is a mafia movie, as there is much debate as to whether or not anything that happens in the 1968 segment is even real or is it a heroin induced dream of Noodles as he tries to forget his part in the death of his friends by getting doped up in an opium den. I'd say - You decide. It could go either way.

Many people compare "Once Upon a Time in America" with "The Godfather". In my opinion these two movies can't be compared. Both are masterpieces in their own way, but each of them has a different style. You don't compare a Picasso to Michelangelo's Sixteen Chapel either, do you?

What is it that makes this movie a masterpiece? Well, first of all there is the director. Sergio Leone is a real master when it comes to creating a special atmosphere, full of mystery, surprises and drama... He's one of the few directors who understands the art of cutting a movie in such a way that you stay focused until the end.

The way the movie was cut is also the reason why a lot of Americans don't think this movie is very special. There are three versions, but only the European version is how the director imagined it to be. He didn't want his movie to be shown in chronological order (1910's - 1930's - 1960's), but wanted to mix these three periods of time. The studio cut the movie in chronological order, loosing a lot of its originality and therefor getting a lot of bad critics. If you want to see this film the way Sergio Leone saw it, you have to make sure you get the director's cut.

The second reason why this movie is so great is the music. Ennio Morricone, who is seen as the greatest writer of film music ever, did an excellent job. Together with the images, the music speaks for itself in this movie. From time to time there isn't said a word, but the music and the images on their own tell the story. He understood perfectly what Sergio Leone wanted and composed most of the music even before the movie was shot.

Last but not least there is also the acting and the script. The actors all did an excellent job. But what else can you expect from actors like Robert De Niro, Joe Pesci... They helped making this movie as great as it is by putting there best effort in it. The script helped them with it. It took twelve years to complete, but it hasn't left any detail untouched. The writers really thought of everything when creating it.

I can really recommend this movie to everyone, but especially to people who like the gangster genre. When you want to see the movie, you better be sure that you will have the time for it. This isn't a movie that is finished after 90 minutes. You'll have to be able to stay focused during 3 hours and 47 minutes, which will certainly not be easy during the first 20 to 30 minutes. Some scenes at the beginning only make sense when you have seen the end of the movie. But when you are able to stay focused, you'll find this one of the best movies you've ever seen. I certainly did and I rewarded it with a well deserved 10/10.

This is, for me, one of the finest examples of cinematic art. It isn't a simple, cut-n-dried 90 minute little package that gets wrapped up with a pretty bow at the end. You get pulled in by the enigmatic opening that unwinds the threads of the story to be found later. For many people having half an hour of purely visual story telling, of stories that are only mysteries at that point, before anything becomes truly linear is difficult to follow and discourages to many people. Our own memories are only snippets that only become linear as we concentrate on scenes from our lives. Once Upon a Time in America is like that as we follow Noodles through the `significant' part of his life - the times that formed him. When the story actually starts, we meet the girl that he always loved but could never have.

David `Noodles' Aaronson (DeNiro) was a kid on the very mean streets of Brooklyn when organized crime was born in America and he grew into and out of it. That's the simplest synopsis of the plot. The reality is that this isn't a movie about gangsters. Being a gangster is the easiest way for Noodles to survive and get ahead, but it also alienates and ruins his one love. Whenever he is close to giving himself to Deborah he always gets pulled back into the gang, in some form or another.

DeNiro's portrayal is of a gangster, through and through, who also has a conscience that, while not preventing him from being a ruthless killer, rules his life with regret, remorse and guilt. Leone takes a bit of poet/historic license by showing the Brooklyn Bridge being built in the background (the bridge had been built 40 years before), but it symbolizes Noodles' own growth. When the bridge is just pilings and incomplete towers, Noodles is just forming his future. By the time the bridge is complete, Noodles is nothing but a gangster and the bridge is majestic. When he returns 35 years later our view of the bridge is from under a freeway -- the world has moved along, but the bridge and Noodles are just as they were.

The length: If you're looking for a brief distraction that you'll barely remember 30 minutes later, this isn't the movie for you. However, if you are prepared and able to be undistributed for the nearly 4 hours that this film uses to compress a lifetime -- you will be rewarded with many facets of thought and examination.

Once Upon A Time In America is the crowning achievement of director Sergio Leone. It's nearly four hours long,and demands total concentration from beginning to end. However,those willing to submit will find it more than worth it.

Reminiscent at times of some very old gangster films such as The Roaring Twenties,one will find almost every gangster movie cliché one can find-one can imagine Leone half remembering bits and pieces from films he saw as a youth. However,he never glamourises his protagonists-he may dare us to like Robert De Niro's 'Noodles'-a murderous thug and rapist who always seems to make the wrong decisions-but that's different from glamourising him. The notorious rape scene is all the more hard to watch because its painful to watch Noodles try to destroy himself and his girlfriend by going through with it.

What really makes this film different is it's overwhelming melancholy. Leone's favourite loyalty/betrayal theme is there,but the film is also a study of memory,of a lost soul coming to terms with his past. Therefore,starting in mid-plot in the 1930s,than flashing back and forth in time,was the right choice {if initially confusing!}. This is the culmination of Leone's increasing interest in the flashback structure-think especially of the parallel story told in A Fistful of Dynamite's flashbacks.

There is action,but it's mostly quick and brutal,and there is also humour,such as a very funny scene set to Rossini's Thieving Magpie where the gangsters are loose in a hospital filled with babies. However,the broody,melancholic tone never really goes away,and towards the end,the film grinds to a virtual halt. Be warned,there is no action climax,just a series of somewhat oblique dialogue scenes and revelations.

The expected Leone flamboyancy is hardly to be found,but the film still often soars most when dialogue is kept to a minimum and Ennio Morricone's gorgeous music takes over. Some of the most brilliant scenes just consist of Noodles seeing and reflecting. In one especially effective and poignant scene near the end,an old Noodles is leaving his love Deborah as her achingly sad theme plays,and he sees her son,who is the spitting image of,well,I try to avoid spoilers! As the music changes into the still sad but more majestic main theme,the camera slowly zooms,as it often does,into Noodles' sad eyes. We go to what is initially a blur,until we realise it's curtains. The person who holds the key to all this appears,like a ghost,through the curtains and goes onto a balcony,from where he sees the same 'son' with a girlfriend. Sheer brilliance,and not a gun in sight!

Of course De Niro is great,but he's obviously very restrained and reflective. It's James Woods who really dominates,so dynamic here,this should have made him a big star. One must also mention Tonni Delli Colli,who photographs three time periods with slightly different hues but still subtly.

Leone's original cut was five hours and if you want to be picky there are holes in the plot. Leone leaves a great many things ambiguous,but shouldn't all great art ask questions? Once Upon A Time In America is not necessarily easy viewing,but it IS great art,the final statement of one of the best filmmakers of all time.

Sergio Leone's Once Upon a Time in America (C'era una volta l'america) is often hailed as a masterpiece of epic storytelling, but beneath its sprawling runtime and lavish production design lies a film that struggles to justify its ambition. While undeniably ambitious, the movie's flaws in pacing, characterization, and thematic coherence overshadow its artistic merits, leaving it more of a slog than the gripping crime epic it aims to be.

At nearly four hours, the film's runtime is an endurance test. Leone's decision to tell the story non-linearly, jumping across decades, feels more confusing than compelling. While nonlinear storytelling can add intrigue, here it dilutes the narrative momentum, making the film feel unnecessarily disjointed and cumbersome. Many scenes drag on for far too long, testing the audience's patience and diluting the emotional impact.

One of the film's most glaring issues is its depiction of women. Female characters are either relegated to stereotypes-mothers, temptresses, or victims-or exist solely to serve the male characters' arcs. The portrayal of violence against women, particularly the graphic and exploitative scenes of sexual assault, feels gratuitous and undermines the film's supposed depth. These moments aren't explored with the gravity they deserve, leaving a sour taste that detracts from the story.

While Robert De Niro delivers a solid performance as Noodles, his character-and the relationships he forms-lacks emotional complexity. The supposed friendship and betrayals between Noodles and his gang never feel fully fleshed out, leaving their interactions cold and unconvincing. Moments that are meant to be poignant, like the tragic ending, fall flat because the film fails to create a meaningful connection with its characters.

The film attempts to tackle a multitude of themes-loyalty, regret, the passage of time, and the dark side of the American Dream-but it spreads itself too thin. Leone touches on these ideas without delving deeply enough into any of them, leaving the film feeling thematically unfocused. Instead of a profound exploration of morality or memory, we're left with a collection of loosely connected ideas that never fully coalesce.

While the cinematography and production design are undeniably stunning, the film often feels like it prioritizes visuals over storytelling. Beautifully framed shots and Ennio Morricone's haunting score can't compensate for the lack of emotional resonance and narrative drive. The result is a movie that feels hollow, more concerned with its aesthetic than its substance.

Once Upon a Time in America is a technically impressive but deeply flawed film. Its sprawling ambition and visual grandeur are undone by self-indulgent pacing, shallow character development, and problematic thematic elements. While it remains a landmark in Leone's career, it's far from the masterpiece it's often made out to be. For all its cinematic flair, the film fails to deliver a compelling or cohesive story, leaving audiences exhausted rather than inspired.