Once Upon A Time in America

Eric Middleton

4/17/13

Sorrento: Review Writing

2^nd Column Review: Once Upon A Time In America (Restored Version)

Jews In The Hood

 

            The Rat was Robert Deniro’s character, a gentleman by the name of noodles. This was the mob back in the 30’s and 40’s. Noodles had it all and he was on top of the world. Once Upon A Time In America, is a sprawling expedition of the lives of Jewish Ghetto youth back at the turn of the 20^th century and finally, into the 60’s. For Director, Sergio Leone, time seems to be the main thing that is on his side. His directorial skills allows him to showcase a New York City that has transformed through the eyes of Noodles.  Unfortunately, Leone seems to only bring out certain highlights of the mafia film. Kudos to his ability to paint a perfect picture, the audience will seem to want the character’s to move a bit faster.

            In the film, we get a kind of a mystery sense as time doesn’t go in a linear matter. We are made to despise Deniro’s character as “The Rat.” Ruthless mob men kill Noodle’s wife and brutally damage his best friend in the hunt for him. Luckliy, Noodles is able to escape and the story jumps all the way back to  20’s in which we are able to see Noodles as a kid with his friends. From there, we are able to study the relationship between Noodles and his friends as they are young hoods in a young jewish slum. This is the most important aspect of the film, and the most engaging.

            Poverty and lack of parenting are the two major factors that have affected young Noodles (Scott Tiller) life. He lives in a world that disregards his youth as his hood is packed full of people trying to make it and get ahead. Leone does a great job of pacing during this time and he even shows everyone of his extras in his scene as moving in fast pace. We learn that Noodles is a smart kid with an interest in learning and reading. Unfortunately, his parents cannot keep the light on and Noodles becomes dangerously indoctrinated within an adult world that calls out for his hustling. His only chance of security lies within his friends; Max (Rusty Jacobs), Patsy (Brian Bloom), Fats (Mike Monetti), and Dominic (Mola Mozareti). Their similarities are striking as each kid is equally ambitious and unafraid to play the adult’s game. The wonderful scene in which Max and Noodles extort a police officer for dealing with a prostitute is one of the most compelling. We respect the boys intelligence for connig the police offer and taking what’s there’s. Simultaneously, we are meant to feel a little sorry for the boys as they decide to break their virginities with this prostitute. We are able to learn that strong Mob families come from chemistry and a sense of similarity that exists between each member.

            The only person able to draw Noodles away from his gang is the young ambitious Deborah (Elizabeth McGovern). She is hard on Noodles and always seeks out to tell him the truth on what he is and where he is at. Noodles is so adapted to living in that fast paced life, Deborah seems to be the only one able to captivate him and draw his attention. Their relationship signifies the end of all of our ill will towards Noodles. It becomes solidified that he is a good kid lost in a mad city. From the onset, we learn that Mafia relationships tend to involve a female with an equally strong character type. Tracing back to The Godfather, we have images of Talia Shores’ character throwing dishes around the kitchen and smashing up everything when there is threat of  her relationship falling apart. She is unafraid of displaying a rage. In Once Upon A Time In America, Deborah is unafraid of telling Noodles that she has ambitions that are stronger than just being tied down to Noodles. Her infatuations lie within her dreams of becoming an Actress. As time goes by, there is a constant battle between Noodles wanting to wrap her up in his life, and Noodles wanting the best for Deborah. She is the only resemblance of purity, yet, will not be the savior Noodles longs for.

            In the end, you’ll understand why Noodles snitches. His gang travels through time and is able to live that luxury life. Unfortunately, the hunt becomes bigger than the gang as the men, particularly Max, wants more and expects more out of Noodles. Max (James Woods) says, “1 million isn’t enough, I want 20 million.” The audience wishes the film could’ve been a lot richer than its 1 million dollar form as well. For all its big budgeted nuances and Leone’s willingness to capture an authentic New York City, the story just doesn’t grow and it becomes stagnant. Instead of a true story arch, the flashbacks seem a little unnesscarry and I could understand why America decided to re-edit the movie. The pacing of the movie from scene to scene is slow as unnecessary close-ups and dramatizations bog the film down. Scrapping away the garbage of self loathing from Leone, we have a real story and a real love triangle that is. The acting from the adolescence and adults that play these characters are superb. Unfortunately, the first 30 minutes are zoomed in on the syndicate chasing after the young adult that was Deniro. Why not just jump into the 20’s and do the movie in a linear fashion? It’s a mistake that is too unforgivable for me to not warn audiences that they may come out unsatisfied. However, if the viewer can exhibit patience, they will learn about the love that drives the Mafia life. That’s a beautiful thing in America.

3 out of 5 stars.