The trajectory of the figures' lives is presented to us as a microcosm mirroring the historical trajectory of America's teens through prohibition and its spoils, ending with the arguable ruin of its moribund central figures save Deborah- a make up department fumble or intentional one wonders. After a local crime lord named Bugsy gets jealous and murders the youngest member of Noodles' operation, Noodles returns the favor and kills Bugsy. Before watching this movie buy some super-glue. I found myself asking this question about almost every scene. I was so mad I bought this movie that I had to watch it three times to try to understand why it was made that way and why I hated it so much. It is also full of clichés that try to make Jews actually kind and also physically tough, Italians mafiosos and thugs and of course Chinese docile fu manchus that run opium lairs.
I had to rewind a few times just to understand what he was saying when he was telling that joke in the restaurant. Noodles then boards the first bus to leave New York, going to , to live in hiding under a false identity. So right off the bat I am agitated with the movie, to paraphrase the rest of the film's first 3 hours and more annoyances and perverseness. How to turn such a bold narrative into a compelling film? Some critics compared shortening the film to shortening 's operas, saying that works of art that are meant to be long should be given the respect they deserve. The screenplay is a mess. There are times when we don't understand exactly what is happening, but never a time when we don't feel confidence in the film's narrative. You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie.
This movie certainly feels like it. The point is made in the first minute -- she's a beautiful young girl and Noodles is in love with here. He questions her about Secretary Bailey, telling her about his invitation to a party at Bailey's house. The shorter version is a travesty. In Leone's westerns these long sequences effectively built up tension while here they are just boring cinematic filler. On the set, Eastwood spoke in English and everyone else spoke in Italian. Give me Millers Crossing, Road to Perdition, Goodfellas, A Bronx Tale, The Sopranos, The Godfather and Mean Streets any day!! Relationships are truncated, scenes are squeezed of life, and I defy anyone to understand the plot of the short version.
We learn what happens to his friends, his foes and the love of his life, Deborah. The checkered history of this opulent film and the grand, fanciful myth associated with it's production and many versions belies its mediocrity on a narrative level. The gang's hit on Joe was filmed in. Grand opera requires grand passion to drive the plot; Noodles' only passion is for looking at length through one of the movies' two terribly unconvincing peepholes at a budding ballet dancer, whom he goes on to rape. Likewise, the fact that the movie is set amidst a haze of opium at certain points is even less excuse for shoddy characterizations.
Both versions are available on the soundtrack. Having enjoyed Leone's , Grey finally responded and agreed to meet with Leone at a Manhattan bar. The story is also non-linear, and yet doesn't give away facts to the viewer- this is something that more than likely influenced Tarantino and many others in style. No, in the sense that the movie is compulsively and continuously watchable and that the audience did not stir or grow restless as the epic unfolded. What a myriad of stupid and utterly pointless decisions! I expect to be lambasted by angry fans that will claim that I am an unimaginative watcher and would like all aspects of plot and character explained to me instead of having to think and immerse myself. The movie had a good start and a good premise, but the plot went everywhere, too many people did too many things that didn't make sense, none of the characters are electrifying, and the film is just waaay too long to be enjoyable in spite of all of that. All these clichés might have been interesting or art 30 years ago, but today we have evolved.
Leone loves long stares and glances and wide panoramic shots, and unlike in his westerns, this style simply does not work here. Noodles hears about a corruption scandal and assassination attempt on Christopher Bailey, an embattled political figure, mentioned in a news report. The Wood's scene, hell most of the movie, comes across as a ridiculous concoction of mob flick and Chris Cross music video. Frustrated or not do you think a Corleone would rape anyone let alone their loved one? And I'm left thinking, wtf? Bottom-line: this movie serves a narrow band of an audience which is primarily people who were in Hollywood thirty years ago and had a background in Jewish New York City and want to promote it. Leone centered more on cinemetography than story, and the little story there was was painfully streched out to almost three and a half hours.
It's Max, James Woods his boyhood gang chum that he thought he'd double-crossed and got killed, wanting Noodles to kill him before the real baddies get hold of him. It was the final film directed by Leone before his death five years later, and the first feature film he had directed in 13 years. This isn't a movie that is finished after 90 minutes. Naively, I sat through endless period son-et-lumiére, gratuitous sex and violence, dubious ageing makeup jobs, unrealistic dialogue and nondescript music, hoping that the ending would tie it all together in a satisfying way. On August 3, 2012, it was reported that after the premiere at Cannes, the restored film was pulled from circulation, pending further restoration work. The main character Noodles has no heart and is despicable: he slunk away after his friends were killed and raped the love of his life. This is also a movie featuring the basest kind of characters.
Over the course of his career, Eastwood subtly voiced his distaste for Leone's work by scrupulously avoiding all Leone's trademark camera angles, even in his westerns! How did he know it was there? By the time the bridge is complete, Noodles is nothing but a gangster and the bridge is majestic. Leone's original version tells this story in a complex series of flashbacks, memories, and dreams. When you want to see the movie, you better be sure that you will have the time for it. Four hours long but time melts away as you are transported into New York. The film's long production resulted in Morricone's finishing the composition of most of the soundtrack before many scenes had been filmed. Other major cuts involved many of the childhood sequences, making the adult 1933 sections more prominent. What rubbish; after all, a million buys a lot of secret hideaway.
Must have literally tore Leone's heart out when he learned what they had done. Did Leone himself know what effect he was trying to achieve when he put it in there? It shows, and the movie is a rich spectacle - but nothing more. My only merits for this film are for the principles of camera work, general acting and basic cinematics, besides that, this is almost 4 hours of my life I won't get back, this film drags on so much that by the first hour I felt like I'd spent a full day watching it and on top of that I still had very little connection to the characters and their story hadn't even started. Sometime, years later, Noodles is released into the free world. When the story actually starts, we meet the girl that he always loved but could never have. The story was rearranged in chronological order and the film was split in two, with the two parts shown as separate movies, one containing the childhood scenes and the other comprising the adulthood scenes.
Each delicious piece might make us laugh, or cry, or smile, or feel shock. In one scene a young girl pre-stardom Jennifer Connelly walks along a street, and Leone pulls the camera up, up, up and back, back, back, revealing the entire street. And the scene of Carol trying to guess the man who raped her—just for the fun of it! Noodles meets with Max in his private room at the party. However, the American wide release was edited further to 139 minutes 2 hours and 19 minutes by the studio, against the director's wishes. The shooting script, completed in October 1981 after many delays and a writers' strike between April and July of that year, was 317 pages in length. Very few people have ever seen it. The period spans decades, ending in the 1970's, but focuses on three periods - the childhood of the gangsters on the Lower East Side, their young adulthood and the old age of the survivors.