← Back to Reviews
in
Once Upon a Time in America
Sergio Leone, 1984
Sergio Leone's Once Upon a Time in America was originally ten hours long. Wanting to turn the movie into a series of three films, the distributing company denied his request, and so Leone had to make it into one single movie. It took years for Leone to re-edit the film, afraid of losing valuable moments of the movie. Apart from this, Once Upon a Time in America's stars were so into the film, De Niro even requested a private meeting with an actual mobster crime boss, which was denied.
Once Upon a Time in America is the unforgettable journey of Noodles (Robert De Niro) and his struggles as a kid on in the Jewish ghettos of downtown Brooklyn in the early 1920's. Him and his friends, Max (James Woods), Patsy (James Hayden), Cockeye (William Forsythe), and Dominic (Noah Mozelli). These mischievous youngsters do ultimately unforgettable things, both good and bad, such as losing their virginity at the age of fifteen, and trusting each other dearly with their lives. They attempt to make their own mafia/mobster gang, by doing crimes for other people, only to scam them. Another local mafia gang run by the adulthood leader Bugsy (James Russo), competes with them. Trying to murder Noodles and his crew to eliminate the competition, tragic events take place, which ultimately leaves Noodles in prison for eleven years. After these life-changing events, the film progresses into a cinematic masterpiece with numerous major and side plots such as a mysterious man who claims he isn't who he is, a destroyed relationship, and other bizarre occurrences. These events span the 40 year time line that stretches across Once Upon a Time in America. The film really has no plot, and instead contains dozens of small side ones.
Featuring another amazing and classical Morricone score, Once Upon a Time in America's soundtrack is almost baffling, nearly overthrowing The Good, the Bad and the Ugly, For a Few Dollars More, and Once Upon a Time in the West's musical scores. The theme song for the film is definitely odd, which adds the story, since it is also intentionally laughable at the end.
At the same time, we get a masterpiece that is somewhat definitive yet insanely thought out as well. Why? Well there are multiple reasons actually. Once Upon a Time in the West begins in 60's, flashbacks to the early 20's, moves over to the 60's time and time again, then to the mixed 30's, and eventually to 1933. Leone proved his point. Definitely. Because, it doesn't take a genius to discover why he did this. The plot is more interesting, we keep scratching our heads until we learn of an event in a flashback and we realize what has happened or is happening. Remember, Leone is the greatest director that has ever lived, and his films mostly feature a cinematical dramatic tone that follows the score of the moments on screen. James Woods thanked Leone after the movie was made, claiming that the movie changed his filmography and career forever. If it wasn't for Leone, Woods would probably be little known.
A 200-page plot summary written by Sergio Leone himself of Once Upon a Time in America was given to the Stanley Kaminsky. Leone asked Stanley to fill in the dialogue that would take place between the film's events. Kaminsky later on revised and added what was asked of him, resulting in a 400-page script-like essay or informational document. When Leone received it, he read it aloud right in front of Kaminsky, beginning to end. This shows Leone's commitment to the film industry, and what he believes he can accomplish, will eventually be done.
Once Upon a Time in America isn't for the squeamish. The movie is a three hour and forty-nine minute film with pervasive violence throughout. We see multiple rape scenes, bloody head shots, and in the opening scene a man is nearly beat to death by a group of mobsters looking for Noodles. It truly is violent, yet the film's premise and deftly complex narrative storyline scripts what is known as the original American dream, in terms of crime, lust, and power.
Once Upon a Time in America isn't the best Leone film, but it isn't the worst. Leone old school filmmaking style for the movie really did cost him, as the motion picture took so long that Morricone was almost finished with the score when the movie was halfway finished. It's amazing how much history goes into making this film. Once Upon a Time in America is unlike any other film known to history in many ways. It took an extremely long time, and Leone constantly struggled to get the rights for the book The Hoods in which the film was based off of, rights which he tried to receive since 1976, and the film was released in 1984. There is no actual "legendary Leone standoff" in Once Upon a Time in America, yet moviegoers already familiar with the film should hint that there is a somewhat confrontation in the end of the film.
Epic, cinematic, episodic, and true to the film's surroundings, Once Upon a Time in America reminds you of a western, the plot, characters, and script won't, yet its darkened deserted tone will remind you of an empty desert with someone riding in on a pale horse.
Sergio Leone, 1984
Sergio Leone's Once Upon a Time in America was originally ten hours long. Wanting to turn the movie into a series of three films, the distributing company denied his request, and so Leone had to make it into one single movie. It took years for Leone to re-edit the film, afraid of losing valuable moments of the movie. Apart from this, Once Upon a Time in America's stars were so into the film, De Niro even requested a private meeting with an actual mobster crime boss, which was denied.
Once Upon a Time in America is the unforgettable journey of Noodles (Robert De Niro) and his struggles as a kid on in the Jewish ghettos of downtown Brooklyn in the early 1920's. Him and his friends, Max (James Woods), Patsy (James Hayden), Cockeye (William Forsythe), and Dominic (Noah Mozelli). These mischievous youngsters do ultimately unforgettable things, both good and bad, such as losing their virginity at the age of fifteen, and trusting each other dearly with their lives. They attempt to make their own mafia/mobster gang, by doing crimes for other people, only to scam them. Another local mafia gang run by the adulthood leader Bugsy (James Russo), competes with them. Trying to murder Noodles and his crew to eliminate the competition, tragic events take place, which ultimately leaves Noodles in prison for eleven years. After these life-changing events, the film progresses into a cinematic masterpiece with numerous major and side plots such as a mysterious man who claims he isn't who he is, a destroyed relationship, and other bizarre occurrences. These events span the 40 year time line that stretches across Once Upon a Time in America. The film really has no plot, and instead contains dozens of small side ones.
Featuring another amazing and classical Morricone score, Once Upon a Time in America's soundtrack is almost baffling, nearly overthrowing The Good, the Bad and the Ugly, For a Few Dollars More, and Once Upon a Time in the West's musical scores. The theme song for the film is definitely odd, which adds the story, since it is also intentionally laughable at the end.
At the same time, we get a masterpiece that is somewhat definitive yet insanely thought out as well. Why? Well there are multiple reasons actually. Once Upon a Time in the West begins in 60's, flashbacks to the early 20's, moves over to the 60's time and time again, then to the mixed 30's, and eventually to 1933. Leone proved his point. Definitely. Because, it doesn't take a genius to discover why he did this. The plot is more interesting, we keep scratching our heads until we learn of an event in a flashback and we realize what has happened or is happening. Remember, Leone is the greatest director that has ever lived, and his films mostly feature a cinematical dramatic tone that follows the score of the moments on screen. James Woods thanked Leone after the movie was made, claiming that the movie changed his filmography and career forever. If it wasn't for Leone, Woods would probably be little known.
A 200-page plot summary written by Sergio Leone himself of Once Upon a Time in America was given to the Stanley Kaminsky. Leone asked Stanley to fill in the dialogue that would take place between the film's events. Kaminsky later on revised and added what was asked of him, resulting in a 400-page script-like essay or informational document. When Leone received it, he read it aloud right in front of Kaminsky, beginning to end. This shows Leone's commitment to the film industry, and what he believes he can accomplish, will eventually be done.
Once Upon a Time in America isn't for the squeamish. The movie is a three hour and forty-nine minute film with pervasive violence throughout. We see multiple rape scenes, bloody head shots, and in the opening scene a man is nearly beat to death by a group of mobsters looking for Noodles. It truly is violent, yet the film's premise and deftly complex narrative storyline scripts what is known as the original American dream, in terms of crime, lust, and power.
Once Upon a Time in America isn't the best Leone film, but it isn't the worst. Leone old school filmmaking style for the movie really did cost him, as the motion picture took so long that Morricone was almost finished with the score when the movie was halfway finished. It's amazing how much history goes into making this film. Once Upon a Time in America is unlike any other film known to history in many ways. It took an extremely long time, and Leone constantly struggled to get the rights for the book The Hoods in which the film was based off of, rights which he tried to receive since 1976, and the film was released in 1984. There is no actual "legendary Leone standoff" in Once Upon a Time in America, yet moviegoers already familiar with the film should hint that there is a somewhat confrontation in the end of the film.
Epic, cinematic, episodic, and true to the film's surroundings, Once Upon a Time in America reminds you of a western, the plot, characters, and script won't, yet its darkened deserted tone will remind you of an empty desert with someone riding in on a pale horse.