With the vivid memory of his long-gone childhood friends, Max, Patsy, and Cockeye, etched in his mind, his ferociously loyal partners-in-crime during their rise to prominence in New York's Prohibition-era Lower East Side, the defeated, penniless, and guilt-ridden former gangster, David "Noodles" Aaronson, returns to Manhattan. Not knowing what to expect, while on a mission to shed light on his opaque past, grizzled Noodles reunites with his only living friend, Fat Moe, after thirty-five haunted years of self-exile. However, the relentless, piercing sound of culpability stands in the way of finding closure, as the inscrutable content of a well-worn leather suitcase further complicates matters. And now, against the backdrop of a torn conscience, the sad and bittersweet recollections of more than fifty years of love, death, and everything in between, become inextricably intertwined, leading to even more puzzling questions. But, what are a man's options when he is left with nothing?Written by
Sergio Leone wanted his friend Sylvia Kristel to play the role of Carol, but the producers did not agree on the actress's participation and told the director to employ the "famous Hollywood star." See more »
Just before the boys demonstrate the salt trick to the Italians, fluorescent lighting is visible inside the large buildings in the background. Fluorescent lights weren't commercially available until the 1940's. See more »
[In 1933, three goons question a young woman about Noodles]
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?
[second goon shoots her dead]
[to third goon]
Stay here in case that rat shows up.
One of Beefy's Thugs:
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In 2012, The Film Foundation together with the Leone estate exhibited the 250-minute version of the film at Cannes. However, due to a settlement over copyright issues for international releases, the new version could only be shown in Italy first before it was finally released internationally in October 2014. The restored version adds the following six additional scenes:
Before the opening credits are displayed, additional disclaimers about the restoration are introduced, including that the film was restored and color corrected in 4K. The restoration adds more yellow to the film's visual look. However, the new scenes are based on the work print, which does not have the same color quality as the original prints could not be found, hence the semi-monochromatic look.
After Noodles looks upon his name on the memorial stone, he meets the cemetery director (an appearance by Louise Fletcher) and gets more information about the memorial. He sees a car nearby, realizing he's being watched. He's able to write down the license plate number.
A flashback where after the car falls into the water, the boys fooled around longer. But they were scared of Noodles as the freighter's shovel keeps aiming at the water. Back to 1968, Noodles eventually traces the car's license plate to Senator Bailey's address. The car that tailed him earlier in the cemetery emerges out of the compound and explodes shortly after.
After Noodles comes out of the door, the chauffeur criticizes his lifestyle (explains why he interferes during the rape). Noodles counters him with the financial benefits.
Eve's actual introduction: Noodles is left alone in the street after the rape. He visits a prostitute bar and had sex with Eve, the call girl whom was allowed to be called Deborah. The real Deborah walks out of the restaurant in disappointment.
Deborah performs the final scene of Shakespeare's Antony and Cleopatra before Noodles goes to visit her backstage.
There's a pivotal scene of Max / Senator Bailey with Jimmy. Jimmy and his other associates want him dead because of his many mistakes but there still remains some final organization details to be sorted out. Finally, Jimmy suggests that he commit suicide with the line "I'd be very happy for you tonight, if during all the noise of the party I'd hear a shot." This scene explains things like: why the car bomb went off during the second additional scene; dramatizes Max's motivation with Noodles in the next scene; completing the character arc of Jimmy from an idealistic union boss to a full-fledgling hoodlum; creates more uncertainty of what happened at the end with the garbage truck.
This movie was a masterpiece. It ranks as one of the very best in film history, if not the best. At Cannes people yelled and screamed, couldn't believe just how good it was. The profound atrocity was a combination of two completely brainless acts, the first being Zack Stienberg's hatchet job for US release, supposedly requested by either Warner Bros or The Ladd Company (one blames the other now) and the second was the lack of anyone (and everyone)to post anything in this great film for Academy Award consideration, of which probably as many as 14 nominations and 4 sure- fire Oscars went down the toilet.
These atrocities were perpretrated, I believe, with two reasons in mind, the first to preserve the dim hope of "The Killing Fields" (Daly & Semel's baby) of garnering any awards... and second, to try to boost up the non- foreign chances. Warner Bros knew just how good it was, that goes without saying. The problem was... they already had their share of cash cows and they wanted a real star- studded showpiece to point at. The small minds already had their showpiece but, alas, it was an "eye- tallyan" flick with a producer/director who didn't communicate well. The hatchet job was carefully planned, I believe... the so- called "sneak preview" was done in Canada and not well received, probably due to the fact that the sound system was over- amped and the film 'broke' 3 or 4 times during the showing, what a farce! The awards snub started with the GGs and carried right thru. What a myriad of stupid and utterly pointless decisions! Must have literally tore Leone's heart out when he learned what they had done.
Morricone's score was a sure- thing Oscar, no question about it. DeNiro and maybe even Woods would have fought it out for best actor, Tuesday Weld as supporting actress, any one of 4 or 5 other supporting actors & actresses, most notably William Forsythe, cinematography, film editing, the list goes on & on... (best picture...Amadeus???? give me a break!!) Just what in the hell were they thinking?
Saw it in a theater 20 years ago and then again on TV about 1998 and finally in its correct format(on DVD) about two years ago and again last week at a friend's house. Stirred up all those angry thoughts all over again... sorry about that, getting' old & crotchety.
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