Once Upon a Time in America, which bookends Once Upon a Time in the West as director Sergio Leone's best work, is a powerhouse of a movie. A gangster epic told in a very different style than the standard of the genre, The Godfather, it is in some ways (at least to this viewer) even more emotionally compelling. Although the movie was sabotaged upon release by an edited studio version eliminating about 40% of its original length, the version now available for rental is thankfully the nearly 4 hour version intended by Leone. The story is at essence a basic one about friendship among thieves, telling the story of a group of Jewish kids in New York near the turn of the century who grow up to become powerful and ruthless mobsters, while maintaining (or trying to) their bond with one another. As was most famously done in the taxi scene between Rod Steiger and Marlon Brando in On The Waterfront, the movie again makes the point that bad people can have good aspects to them, such as loyalty, devotion, and even love. I think this movie includes one of Deniro's best roles, and far and away James Woods best film work. The score, by arguably the greatest movie composer of all time, Ennio Morricone, is incredibly haunting in its beauty and sadness (with no fewer than three separate themes that are breathtakingly beautiful). The non-chronological manner in which the story is told results in a wonderfully effective narrative device: the movie begins and ends with the same scene. The first time you see the scene, it is a frantic jumble, without meaning or context, and you do not know why it is so important. When the scene recurs at the end of the film, everything has become clear, and the scene has an incredible poignancy and sadness to it: although it occurs in the middle of events chronologically, you realize that, in a real sense, life stopped at this point for one of the film's main characters. There is no other event that matters anymore to him. This is not a simple movie, and it merits repeated viewings. Indeed, in my view one cannot fully appreciate the greatness of the film until the second viewing, when the full story is known, and the events of the film resonate with knowledge of where they ultimately, and tragically, lead.
Reviews
2 Reviews
The Fisher King
(1991)
Terry Gilliam's best achievement
2 December 2001
The Fisher King is an extremely powerful movie that touches upon a host of weighty issues, including the ultimate meaningless of material success, the cruelties and insensitivities of modern life, and the unbearable weight of knowing a life lived only for oneself is not worth living. Through it all, however, the film delivers the message that love and redemption are attainable. While this description sounds preachy and sermonesque, the movie is not. Jeff Bridges, in possibly his best role, plays a "shock jock" radio host whose casual cruelty in dismissing a disturbed caller leads to real-world tragedy. This sets him on a downward spiral that seems destined to continue when he meets Robin Williams, a former college professor rendered psychotic by the same incident. But in introducing Bridges to Williams, fate gives Bridges a rare second chance. The film is by turns funny, thoughtful and poignant, and both Bridges and Williams (as well as Mercedes Ruehl) are terrific. In an era when most Hollywood movies are simply mindless, illogical bubblegum fare, the Fisher King deftly takes on some of the most unsettling questions about life, love, and our ability to connect with one another, and does so in a provocative and intelligent way. A truly unique and memorable film.
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