Many creators in the fall of life resort to repeating themselves by re -introducing their most successful experiences to the public in an attempt to summon a previous case or at least to keep a mass space that enables them to live under the limelight for additional years. The actor and star with a history decorated with prizes and successes is not an exception from those who were one day full of hearing and patience, but the rulings of time were worsened on it as it applies to everyone without exception.
In his new movie “Knights Alto”, which picks up his last breath in theaters, in parallel with the honor of his hero Robert De Niro at the Cannes Festival, the old star tries to call this famous sideline theme that he took with his friend and his favorite director Scorsese about the Italian gangsmen, which he presented in a large number of films, the last of which was “Irish” 2019 (the 2019 (the 2019) Irishman.
Stars and cinema makers forget that the gangs that were found or appeared on the screen at the end of the last century have often changed, as everything has changed in our world during the previous 20 years, and despite the human and dramatic touch offered by director Barry Levinson and screenwriter Nicholas Pelic Ginovizi, who was embodied by De Niro at work, and the transformations that she went through, but this did not succeed in preventing the viewer from feeling the feeling of returning to the nineties, and it is strange that de Niro presented the two enemy friends’ characters well, but she carries a degree of dispersal.
Live in the past
The “Altto Knights” events revolve around a competition between two of the most dangerous organized crime leaders in New York City to control the city’s streets. The two men were intimate friends, but simple jealousy and a series of betrayals pushing them to a fatal collision path. The story, taken from real events and characters, focuses on the 1957 Costello assassination attempt, which Ginovizi is claimed, which led to the removal of Costilo from the mafia. The film also depicts a meeting of the mafia leaders that were postponed after its date and place leakage to the authorities, which revealed the internal conflicts of the mafia of the public in the 1960s.
The film’s structure, with the scenes of “Flashback” and its audio comment, returns to the minds of de Niro, including “Good Friends” (Goodfellas), and “Irish”, and while these tools aim to revive the feelings of nostalgia for the viewer, but they cause disturbance in the narrative rhythm, as it leads to a comparison that is difficult to save from And the focus in the film decisively. Despite the objective justification for the use of “white and black” scenes at work as it restores the story the topic of the film to its context within social history, it seemed to celebrate and honor the star of the historical gang films in Hollywood, so that the film appears early to honor the “Cannes” festival of the veteran actor.
It is not logical that the work makers intend to present de Niro as an actor by embodying the calm Frank Costilo and Vito Ginovizi, as he does not need evidence of his acting ingenuity, and if I have proven it in the scenes in which the two characters face each other, such as their tense chat on the table, De Niro’s ability to distinguish between them is manifested. However, this double embodiment of the two characters brings back to memory the roles of Tom Hardy in the movie “Legend”, sometimes it seems more like an artistic trick from it, only, and not a narrative necessity.
In “Good Friends”, where De Niro was “Jimmy Conway”, just part of the crime fabric, but it succeeded in an impressive success. In “The Godfather” 1974 (The Godfather Part II), the young Vito Corleone, who was embodied by De Niro, was a balance of Michael, who was embodied by Al Pacino, and not an independent scientist. In the movie “Forsan Alto”, both the two heroes are De Niro, and they are a reflection in the mirror of each other, except for the difference in performance.
The stage of normalization with evil and the love of the bad guys
The most famous trilogy films de Nero, Al Bachino and Corc Cyese about the American mafia with its cinematic success were only a bridge that was expressed by the values related to criminality and blood to the audience and to the makers of the cinema together, and their successes turned into a cinematic wave that spread and later expressed itself in its various forms that accompanied social transformations and technological development, and if the cinematic success is the positive side, then the negative aspect of this success, then the negative aspect of this success, then the negative aspect of this success, then the negative aspect Its influence will remain for years in a society that is more inspired by cinematic films than the Holy Books inspire.
“Forsan Alto” tries to call this atmosphere without the slightest attempt to update the vision and measure the time distance between the story and the timing of its conversion into a movie, and if the “Irish” came in the form of notes for its hero, the “Altto Knights” did not obtain this opportunity, and the viewer was kidnapped from a moment to the gang world in the sixties of the last century without a justification or a dramatic “reclining”.
The stranger in the movie is those moral arguments that his industry markes on the tongue of De Niro and pushed him to adopt “moral” positions, which may seem acceptable in the “spiritual father” of Fords Ford Coppola, or even in the “Irish”, whose hero had retired and began to regret his career as a criminal, but the matter appeared in the “Knights of Alto”, as if he was “Satan”. It is sufficient to talk about the ethics of the gangs, but it gives lessons to the public who has no relationship to the world of crime.
The film succeeded in attracting the audience’s attention during its cinematic narration in specific scenes and events, especially the meeting of the most famous gang leaders, as the viewer finds a graceful camera and a smooth and interesting follow -up, and a wonderful performance in the atmosphere of the sixties gangs of the acting team at work, especially “Catherine Narduchi” in the role of Anna Ginovizi, who came vital and inspired.
Robert De Niro succeeded in holding a film in the form of a movie to honor his cinematic career in a gang cinematic world, and the film appeared as if it were a statue to immortalize de Niro more than a film about two leaders who went with everything they symbolize to the depths of history.