During the era of Prohibition in the United States, Federal Agent Eliot Ness sets out to stop ruthless Chicago gangster Al Capone, and because of rampant corruption, assembles a small, hand-picked team to help him.
Brian De Palma
Robert De Niro
In the midst of trying to legitimize his business dealings in New York City and Italy in 1979, aging Mafia Don Michael Corleone seeks to avow for his sins, while taking his nephew Vincent Mancini under his wing.
This true story follows FBI agent Joe Pistone as he infiltrates the mafia of New York. Befriending Lefty Ruggiero, Pistone (under the name Donnie Brasco) is able to embed himself in a mafia faction led by Sonny Black. Ruggiero and Pistone become tight as the group goes about collecting money for 'the bosses'. Eventually, the group become big-time when Black himself becomes a boss; all the while, Pistone collects evidence. However, the trials and tribulations of the undercover work become more than Pistone can bear. His marriage falls apart, and to top it off, the mafia suspect a mole in the organization. The real dilemma is afforded to Pistone, who knows if he walks away from the mafia, Ruggiero will be the one punished.Written by
P. Wong <firstname.lastname@example.org>
Lefty's real name is Benjamin, which means "son of the right hand" in Hebrew. See more »
Early in the film, Neil Diamond's song 'Love on the Rocks' plays in the background, and a card player sings along. 'Love on the Rocks' was released in 1980. See more »
[standing next to Donnie's car at night]
There's the boss. And, under him, there's the skipper. You know how this works?
Yeah, it's like in the army.
Bullshit. The army is some guy you don't know telling you to go whack some other guy you don't know.
See more »
In a world filled with overheated, and frequently overpraised, gangster movies, it seems to me that Mike Newell's 'Donnie Brasco', the story of a cop who goes undercover to infiltrate the mob, is arguably overlooked. Based on real life events, it contains great performances from Johnny Depp and Al Pacino, a complex but coherent plot, addresses universal themes (divided loyalties, the evolution of human relationships and behaviour) and the ending is genuinely moving. Perhaps it's not fast-paced enough for devotees of the genre; more likely it "fails" this audience for its very success in portraying the mafia as fundamentally pathetic, whereas most gangster pictures at least partly buy into the glamorous myth. But for me, this a superior film to Scorcese's 'Goodfellas', with a faint note of very black comedy that sounds behind the slaughter. Recommended.
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