(USA 1990 144m) DVD1/2
Never rat on your friends and always keep your mouth shut
p Irwin Winkler d Martin Scorsese w Martin Scorsese, Nicholas Pileggi novel “Wiseguy” by Nicholas Pileggi ph Michael Ballhaus ed Thelma Schoonmaker art Maher Ahmad, Kristi Zea cos Susan O’Donnell, Thomas Lea Keller
Ray Liotta (Henry Hill), Robert DeNiro (James Conway), Joe Pesci (Tommy de Vito), Lorraine Bracco (Karen Hill), Paul Sorvino (“Pauly” Cicero), Frank Sivero (Frankie Carbone), Tony Darrow (Sonny Bunz), Mike Starr (Frenchy), Frank Vincent (Billy Bats), Chuck Low (Morris Kessler), Catherine Scorsese (Mrs de Vito), Samuel L.Jackson,
When one recalls how the Hays Code effectively ended the first glorious period of gangster films by insisting on moral codas, it was some time before we saw them portrayed as they really are (courtesy of Coppola, Leone and, in his Mean Streets, Scorsese himself). However, if one was to choose one film as the direct modern equivalent of Cagney’s The Public Enemy, say, then it would be this, whose central character is in love with the idea of being a gangster. As the protagonist says “as far back as I could remember, I always wanted to be a gangster. To me, being a gangster was better than being president of the United States.” It is simply one of the great crime films, not afraid to cheer along its frankly evil protagonists. Scorsese even effectively reworked it as Casino, like Hawks with his westerns.
Going back and forward in time, from 1970 back to the mid fifties and back again, and then on into the eighties, it tells the true story of how Henry Hill became a gangster, from his introductory scams at the age of thirteen to his periods of incarceration, his marriage, his subsequent wealth, drug habit and his final capture. Finally, he turns state’s evidence to put away his former partners in crime, at the expense of returning to living like a nobody in a witness protection program. (In his words, “I get to live the rest of my life like a shnuck!”)
The title was chosen one assumes to avoid comparison with the distinctly inferior 1986 de Palma film, which is a shame as Wiseguys would have been a better title. That’s more how they saw themselves and how we are allowed to see them. To them, being anything other than a criminal out to get what he can is being a loser. All that matters is the next score, the next hit and the idea of going to school and swearing allegiance to the flag is something truly abhorrent. Everyone is scared of offending these people, they rule the neighbourhoods like little Hitlers, or to be more accurate little Roman emperors. People laugh at Tommy’s jokes because they’re terrified of him, not because he’s funny (“funny how?” indeed). Like courtiers nodding agreement with Nero’s artistic ambitions for Rome for fear of being killed. It’s a reign of terror and GoodFellas shows his gangsters not only terrorising but enjoying it. It’s a way of life built around suspicion and ruling them all we have Pauly – “he might have moved slow…” Henry says, “but it was only because Pauly didn’t have to move for anybody.” Jimmy on the other hand pretends he’s civilised, has people call him Jimmy the Gent, but is altogether calculating and quite the most treacherous of the bunch. Tommy is a foul-mouthed, motor-mouthed psycho with the tact and diplomacy of a Sherman tank. Finally we have Henry, who frankly has no redeeming virtues and that’s Scorsese’s masterstroke. He dares to have you not like his characters, because the more you dislike them, the more you are fascinated by them. He’s helped of course by his cast; DeNiro (merely excellent), Pesci (never better), Sorvino (chilling), and particularly Liotta, who’s brilliant as Henry. It’s just such a shame that the careers of all four have stagnated since then.
All this and I haven’t had time to mention the atmospheric photography, the masterful use of street talk in the script and that awesome soundtrack; Cream, The Shangri-Las, The Crystals, The Stones, George Harrison, Dean Martin, Bobby Darin and, last but not least, Sid Vicious belting out ‘My Way’ as the lights go up and we go home thinking of Gary Oldman and James Marsters. If ever a movie demanded a pizza delivery to go with each viewing, this is it. But who knows the recipe for Pauly’s sauce?
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I absolutely agree, Allan, Especially this part – “He dares to have you not like his characters, because the more you dislike them, the more you are fascinated by them.”. It’s us who are like Nero’s courtiers. We have to go along with these “wiseguys”, no matter where they take us.
A truly masterful film. I don’t think many are going to disagree with your assessment here.
Cheers!
Thanks very much ‘Just Another Film Buff’ and yes that’s a great passage in Allan’s writing you identify there!
An excellent, succinct treatment here. My only disagreement would on the placement. I put it at #1 and thought you would likely have it even higher than this. But that’s not an argument, just a slight difference in rankings. I like how you rightly acknowledge that this of the four key wiseguys, all of them shine… and with the exception of De Niro, they all probably give career best performances. Liotta has never come close to matching the role of Henry Hill.
This one has reached the point of so many others of almost being a cliche to cite as a favorite, but I don’t care. I’ve been on the bandwagon for a long time and never tire of watching it.
Dave: Your love for the film is incomparable, but hey this is the film of this decade that probably has the majority of the critics too. It’s certainly a wedding of artistry and popularity.
Good review here… I’m glad this doesn’t rank too high as I always hope for new film recommendations from your superb lists. Still this is an enjoyable film.
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I like the comment about the music used, specifically the great girl groups of the sixties. It always seemed to fit so well for me too. I remember re-editing some scenes on an old dubbed vhs of this as a kid (I had piggy-backed two VCRs) and used the Crystal’s ‘He Hit Me (and It Felt Like a Kiss)’ instead of ‘Then He Kissed Me’. It was quite an artistic achievement at 12. ‘He Hit Me (and It Felt Like a Kiss)’ is such a savage beautiful song. But so is all of the Crystals stuff; so underrated.
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What a blast from the past on the ‘Wise Guys’ mention. I always forget about that film… do you guys know Ebert gave that 4.75 stars out of 5? Always made me want to revisit it in case I missed something.
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I wonder if this film will lead to a discussion on moral depravity ala ‘Pulp Fiction’. I’ve always found ‘Goodfellas’ was based more in reality (and slightly more celebratory of the lifestyle), so therefor more reprehensible. I suppose one could argue that Scorsese plays with convention enough to question that. We’ll see…
Jamie, I have the sneaky suspecion that Marty can get away with just about anything, not that he shouldn’t. But with LAST TEMPTATION he pushed the envelope, and Joe Pesci’s character is one of the most despicable on record.
Along with Casino, Goodfellas uses the mob as a metaphor for America’s fall from grace after a golden age that Scorsese recognizes was rooted in corruption and cruelty but nevertheless worked for those who played by the rules, whether they were fair or not. Henry Hill emphasizes this in the early episodes (paying Paulie his tribute and so on), and the film as a whole emphasizes that the system fell apart when people stopped playing by those rules in a way that was probably inevitable from the nature of their vocation. To respond to Jamie, I don’t think Goodfellas can be seen as celebrating depravity because even if you empathize with Henry and his pals you can’t miss that they had a “good” thing and screwed it up themselves through their own greed and other compulsions.
Oh I might agree with you… I am just curious if we will see similar objections to more realistic material. Pulp Fiction is a cartoon that shouldn’t be taken as serious. But i suppose that ‘unrealistic’ treatment of violence can be what people are objecting to in PF. Just interesting to me.
Good comment btw.
Jamie – I think you highlight the key point. The violence here is not manufactured – this is the life they lead. Perhaps it too would turn certain people off, but I don’t see how you could possibly change it.
Now, mind you, I’m not at all bothered by the “moral depravity” of other fictitious stories, so I could be wrong.
Fantastic discourse between Samuel, Dave and Jamie here. I wouldn’t know what else to add.
A masterwork! Nicely done Allan. I thought this film would have made your top 10, so am curious to see what films you put ahead of this. Scorsese’s use of music is next to none.
Yep John, Allan’s placement surprised me, but to be truthful I had it somewhere around the same number on my own list. Still, for many it’s either #1 or in the top 5.
GOODFELLAS is one of those rare exceptions where excessive voiceover narration actually works… I think it’s because what is being said is so fascinating, esp. juxtaposed with the images appearing on the screen and because of the people who are narrating, like when Karen talks about how all the gangster wives looked so horrible and treated their kids awful.
The sequence that gets me every time is the day that Henry finally gets pinched and is high as a kite on coke. The frenetic editing, both visually and on an audio level with all those great songs, is incredible. Simply amazing stuff. The feelings of paranoia conveyed in this sequence is insanely tangible.
Wow, J.D., that is quite a terrific discussion there. So many great points, expressed economically. Can’t say I don’t agree with every one too.
Interesting. Just about every internet polling conducted for this decade has either “Good Fellas” or “Schindler’s List” at the top. Now the former film is in the 20’s. I am curious to see what direction the countdown goes in.
Allan is always full of surprises Joe!
Ray Liotta’s descent into cocaine addiction in the late part of the film drags it down some. But still I couldn’t argue with those who feel this is Scorsese’s greatest film. Fine review by Mr. Fish.
I disagree on this point, but I can at least see where someone would find this section nowhere near as interesting/entertaining as the first two-thirds. But, I do think that the “Last Day as a Wiseguy” sequence is just brilliant in recreating how Henry’s coke-addled mind is racing.
But also keep in mind that I named my blog after this film and am an unabashed fanboy of it. 🙂
I’m inclined to agree with those who feel the first two-thirds of this film is practically perfect. Only by comparison can one hold the final reel at fault. Joe Pesci plays one of teh most despicable of all movie villains and his performance is outstanding. I also believe that music and narration are used exceptionally well.
I agree that the last section is a drag on the film but, the earlier parts of the film are so great it survives the “helicopter” sequence. Also, the film makes a great comeback in the last 5-10 minutes.
Completely agreed there Angelo with both points!
I think that the comeuppance is rarely as exhilarating as the pennance. The last 3rd is made with the same artisty and cinematic verve. It’s just taxing because this is an expressionistic film and the high anxiety of coke, adultary and fear are expressed by the soundtrack, camera-work and cutting. The last third is the price to be paid for the hubris of their chosen life-style. Without it, the film would be a glamourus advert for deviant sociopaths.
The only bit that annoyed me and broke the spell was Liotta’s turning to the fourth wall and addressing the audience. Still, superbly done.
Worthy of Welles and Powell/Pressburger.
Hi! Allan,
What an interesting review of a film that I only viewed once, but what was surprising to me is that I just discovered a “connection” between director Martin Scorsese, and the late Graphic Designer Saul Bass, when it comes to the 1990 film and GD Saul Bass’ (poster) artwork.
Saul Bass
Thanks, for sharing!
DeeDee 😉 🙂
Dee Dee, interesting connection there. i would never have thought of it myself.
Yes, DeeDee good point out here. Saul Bass also did his ‘Cape Fear’ title a year later (Not to mention ‘The Age of Innocence’ and ‘Casino’ as well, as a matter of fact I think ‘Casino’ was the last one he did before he died). I actually think the ‘Cape Fear’ title sequence better’s the ‘Goodfellas’ one by quite a bit. I can’t recall off the top of my head what the other two (‘Age of Innocence’ and ‘Casino’) look or move like to comment on them further.
I’m tickled others want to talk about movie title sequences…
Like Mean Streets, Goodfellas abounds in terrific performances (Joe Pesci’s volcanic turn could easily rank as one of the greatest in the entire history of cinema; even Mean Streets had a volatile & sociopathic character in De Niro’s), awesome pop/rock soundtrack, and, as you’ve so aptly put it, “street talk”. I guess Scorsese-talk was as iconic and immediately identifiable as Tarantino-talk is. As Dave remarked earlier, I too had expected it to be ranked a tad higher. But rankings aside (after that’s a subjective decision), this is a well-written review of a wonderful movie.
Beautifully written and insightful capsule response here Shubhajit! Who could arge with a single point?
Would probably be in my top 5 for the decade. One hell of a ride, but it doesn’t let you off the hook either, in a way that Pulp Fiction does, as we have already discussed. The use of pop music is outstanding and exhilirating but then Scorsese is a master in that regard, probably THE master.
Indeed Joel, it does not let you off the hook, and it’s an exhilarating and visceral a mob film that’s ever been crafted. As I stated in earlier responses, there are few critics and/or movie lovers who don’t rank this among the top 2 or 3 films of the decade. Yes, i agree with you on Scorsese being the master of music. Even the Stones know that now.
I might be a little late here guys…. Day was really busy. Although I’m not the fan of this film that so many are, I still find it imossible to turn away from. There are moments in this film that stay with you forever. The flowing camera movement as we enter the Bamboo Lounge for the first time as Henry “introduces” us to the main players of the story. The almost musical choreography of the waiters, chefs, busboys and maitre’d’s as the camera swirls lefyt and right to the Crystals singing AND THEN HE KISSED ME as Henry takes Karen into the Copacabana through the “short cut”. Marty’s own mother in her hysterically, and purely, Italian cameo as Tommy’s motormouthed mother. For a film about such dispicable people there is so much nostalgiac warmth. Also, the Italian/American domestic details are flawless. Growing up in an environment like that all my life, then see this film leaves my jaw on the floor with every viewing.
And, as an Italian/American, I DO take offense to those that say this film is a glorification of gangsterism and mob romance. The amazing thing about this film is that without glorifying the subject, Scorsese only really showsd nostalgia for the earlier simpler moments. The waxing poetic only really comes from Henry’s childhood and early adult years. He’s in love with the style and the ease, not what get them to said ease and style. In every turn Scorsese is firm that all the rotten deadly deeds stay just that, rotten and deadly. Every bit of violence is logically necessary as its required by the characters. Not a gratuitous moment here. For that the film is damn near perfect.
Sorry, TYPO ABOVE…. I meant to say I DON’T TAKE OFFENSE… Please note my correction… Dennis
Ok…. I’m a dunce. Blogging on Blackberry is straining my eyes. My original construction of the first sentence in my secong comment was correct. I DO TAKE OFFENSE TO THOSE THAT SAY THIS FILM IS A GLORIFICATION OF GANGSTERISM AND MOB ROMANCE. Whew, I gotta get glasses. I need an aspirin. My bad. LOL!
Dennis… have a drink, relax. 🙂
Either way you phrase that first sentence, I get what you’re saying and agree. I don’t think it’s a glorification at all… shows how absurd the whole thing is really.
Picking up on what Dennis said. GFs – I can take it or leave it. What intrigues me is why Italo-Americans like Scorsese, De Niro et al have never felt the obligation to use their considerable talents to make a movie that deals with Italo-American experience beyond the mob and gangsterism? To my mind only one film ever comes close to this and achieves a measure of greatness: Edward Dmytryk’s Christ in Concrete (1949).
Tony, that is a fabulous point there with CHRIST IN CONCRETE, un underestimated masterwork.
Thanks for the tip on ‘christ in Concrete’ – just read Tony’s web-site and am down-loading this out of print $100 dvd collector’s item.