I like them both, of course, but this is an easy call for me: Bobby DeNiro. Even though DeNiro has pretty well been pissing on his legacy for much of the last dozen years or so, he still reigns supreme. If for no other reason,
Raging Bull is if not
the greatest performance in the history of film it's certainly in any conversation among the top three or four. Pacino, for all his greatness, simply doesn't have one that reaches that level. All things being equal,
Raging Bull gives DeNiro the knockout.
But I don't think all things are equal anyway, DeNiro just has more great work to his credit. Apart from
Raging Bull he worked with Marty Scorsese another seven times against zero for Pacino, so there's another huge advantage in Bobby D's column. They've both worked with DePalma, but with
Carlito's Way I have to give that one to Pacino. Both worked with Coppola of course, and while DeNiro is "only" in
Godfather II Michael Corleone is Al's signature so I have to give that to him. Both worked with Michael Mann, in
Heat together and Al also has
The Insider. But DeNiro has also worked with Sergio Leone, Terry Gilliam, Bernardo Bertolucci, Elia Kazan, Quentin Tarrantino, Barry Levinson, Michael Cimino, Ulu Grosbard, etc. Now, Pacino does have two monumental pictures with Sidney Lumet where DeNiro has somehow never worked with him plus Oliver Stone (though nobody will confuse
Any Given Sunday with one of his best) and a couple amazing flicks with Jerry Schatzberg at the beginning of his career, but in the overall scoreboard of who has worked with the most first-rate directors, that's DeNiro by a landslide.
DeNiro has two directorial efforts to his credit, the excellent
A Bronx Tale and the solid and ambitious
The Good Shepherd vs. Pacino's very inventive Shakespeare documentary
Looking for Richard and the almost unwatchable adaptation of the play
Chinese Coffee. So in terms of their output as directors, this one again easily goes to DeNiro.
Also, DeNiro can do comedy while Pacino hasn't proven it's part of his range, even after all these years. Certainly some of Pacino's characters have funny lines (sometimes unintentionally so) and certainly as with any good actor he can mix drama and comedy into the same role, but the uneven dramedy
Author! Author! is the closest he's come to performing in a "comedy" as the star of the picture, and while he was fine it's hardly a home run. His way-over-the-top Big Boy Caprice under heavy make-up in Beatty's
Dick Tracy may be his most purely comic performance, and that's not saying a whole lot. At least not when you compare it to DeNiro in
Midnight Run, which is simply genius, or in highlighted support in
Brazil or
Wag the Dog or even co-starring in the
Analyze This and
Meet the Parents flicks, which for their flaws are still very effective comedic work. As a screen comedian, again there's no comparison.
They've both played The Devil, and I'll take Bobby's Louis Cyphre of
Angel Heart interacting with Mickey Rourke over Al's John Milton with Keanu in
The Devil's Advocate every day of the week and twice on Sunday.
Pacino does indeed act on the stage, which DeNiro has consciously chosen not to do, so give Al that point. But as a producer and then adding in the TriBecca Film Festival and the charities he set up for his neighborhood post 9/11, it's DeNiro in another blow out.
Pacino is great, of course, and a whole bunch of his early performances would be among the best of any given year, but not only would I slot him behind DeNiro among the major American actors of his generation but also behind both Gene Hackman and Dustin Hoffman.