Barry Levinson’s film The Alto Knights is an engaging gangster saga that showcases two outstanding performances from Robert De Niro.
The Alto Knights Review.
SYNOPSIS
Two of New York’s most notorious organized crime bosses, Frank Costello and Vito Genovese, vie for control of the city’s streets. Once the best of friends, petty jealousies and a series of betrayals place them on a deadly co
llision course that will reshape the Mafia (and America) forever.
OVERVIEW
The gangster genre has consistently celebrated its share of successes. Iconic films such as The Godfather, Scarface, Goodfellas, and The Untouchables reflect Hollywood’s enduring fascination with the daring escapades of some of history’s most infamous criminals. Whether driven by nostalgia, romanticism, or simple admiration, the greatest films in this genre have portrayed some of the most notorious events in recent memory. The latest film to depict these chilling true-life stories is THE ALTO KNIGHTS.
Boasting the directorial style of Barry Levinson and the star power of Robert De Niro, the film has all the hallmarks of another instant classic. But after his groundbreaking roles as Al Capone in The Untouchables and James Conway in Goodfellas, can De Niro return to his roots and deliver another standout performance? Or should we skip The Alto Knights and banish them back to the pages of history?
REVIEW
Sadly, cinephiles, it’s another mixed bag. Although De Niro digs deep to produce two thrilling performances, The Alto Knights fails to become anything more than a highlight reel of historical events brought to life in an underwhelming fashion, lacking the conviction needed to make it momentous. Nicholas Pileggi has produced a punchy screenplay that showcases some of the most heinous events in gangland history, but the film’s format diminishes any impact it has on the story.
The film is framed as a pseudo-documentary, with De Niro as the character, looking back on some of the big moments in gangster Frank Costello’s life. From the opening moments, the film dazzles with a gripping opening sequence that sets the tone for the tale we expect to see unfold. However, it soon becomes apparent that Levinson is trying something different to bring a new style of gangster film to the genre – and for the most part, it works.
RELATIONSHIPS
The film revolves around Costello’s relationship with his lifelong friend and ally, Vito Genovese. After years of involvement in organized crime, Vito (played by De Niro) hands over control of his criminal empire to Costello while he serves time in prison. However, when Vito is released many years later, he finds that the landscape of gang activity in New York has changed significantly. Costello has transformed the business into a lucrative enterprise that caters to various factions within the gangs, and profits are high. However, as is often the case, the pursuit of power creates competition. Vito is determined to regain control of the business, even if it means sacrificing his friendship with Costello.
What follows is a story unfolding on two fronts. Costello, portrayed by De Niro, grapples with his role in the business following a botched assassination attempt on his life. Meanwhile, Vito, becoming increasingly unhinged, embarks on a bold mission to reclaim control of organized crime in New York.
DIRECTION
Typically, these tropes and genuine moments in time would provide a solid foundation for the movie. However, the film devolves into a confusing mix of sequences set in both the past and the present, resulting in a disjointed narrative. De Niro, portraying Costello, attempts to guide us through these moments, but even he cannot keep the story coherent. The juxtaposition of dramatic scenes with a pseudo-documentary style is particularly jarring. This imbalance detracts from the film, undermining the power of the historical moments and making it difficult to connect with the story on a personal level. It’s an unusual concept, and sadly, it doesn’t quite land.
PERFORMANCES
While the film has its shortcomings, it also boasts some notable successes. Robert De Niro, in particular, delivers an impressive performance in dual roles. Although his performances may not quite reach the high standards of his past work, it’s clear that he is stepping back into familiar territory and delivering another remarkable performance. The contrast between his two characters highlights his versatility as an actor and serves as a reminder of his exceptional talent. As Costello, he portrays a reserved gangster grappling with his conscience and trying to distance himself from the brutality of life in the underworld.
Vito, on the other hand, is a loose cannon, eager to pull the trigger and unleash a full-scale gang war at the slightest provocation. While this character is fascinating and enjoyable to watch, it’s frustrating that he doesn’t receive nearly enough screen time to establish himself as a legitimate antagonist. Historically, he is known as one of the most ruthless criminals ever to roam New York’s streets. However, in this film, we only catch fleeting glimpses of him and sudden bursts of violence. While the movie does provide some insight into his psyche, by the time the credits roll, we know very little about him and haven’t been given enough time to understand his methods. This bold creative choice by Levinson is frustrating and didn’t land with me.
DEBRA MESSING
Fortunately, the remarkable performances extend beyond just De Niro. Debra Messing delivers an impressive portrayal of Costello’s wife, Bobbie, serving as the foundation that maintains the film’s lighthearted tone. Her interpretation of the character allows for some genuinely touching moments, while in other scenes, she offers some of the best humorous lines that will leave the audience smiling. Nicholas Pileggi deserves commendation for his screenplay in this work. He skillfully balances the ruthless gangster aesthetic with the lighter yet equally significant bond between a husband and wife. This accomplishment is no easy task, but Pileggi pulls it off splendidly.
Completing the list of noteworthy contributions is Kathrine Narducci, who portrays Vito’s estranged and fiercely passionate wife, Anna. Although Narducci’s screen time is unfortunately limited, she fully embraces the role and delivers a memorable performance. Like Messing, Narducci is given some of the film’s most outrageous lines, and she executes them perfectly. Pileggi has succeeded in giving the female characters a prominent place to shine, which is impressive considering the larger-than-life gangsters they share the screen with. The combination of these outstanding performances and Pileggi’s sharp script has ensured that these characters are celebrated as integral parts of the story.
ATMOSPHERE
The film successfully creates an authentic atmosphere that captures the spirit and style of 1950s New York. Levinson’s carefully curated color palette bathes each scene in earthy tones, lending the film a vintage quality that evokes the ambiance of that era. From rich sepia tones to the washed-out greys of upstate New York, the film feels like a timepiece from the past. It takes viewers on a gritty journey through history. Levinson’s creative direction is impressive, and his skill makes the hard work behind the camera appear effortless. It is a testament to a seasoned veteran getting the best out of the material, and his direction deserves praise. It’s a shame the finished product falls short of the mark with its frustrating formula.
VERDICT
Overall, Barry Levinson’s The Alto Knights is an intriguing and well-structured gangster drama that delivers solid entertainment for fans of the genre. Robert De Niro returns to his roots, delivering two thrilling performances that make the film memorable, even though having him play both the antagonist and the protagonist feels like a tired gimmick. I would have preferred to see a legitimate rival take on Vito’s role. Casting someone like Joe Pesci or Al Pacino would have greatly enhanced the film. However, I commend De Niro for pursuing such an ambitious project at this stage of his career.
That being said, Levinson’s directorial style elevates the movie, allowing it to become more than the sum of its parts. Additionally, Nicholas Pileggi’s punchy screenplay provides an insightful glimpse into gangland life in America. It is a worthy but overly slow and tiresome addition to the gangster filmography. While it may not meet the standards set by its predecessors, the film offers some insightful moments. Its pace is often slow and can feel like a test of endurance over time. However, the performances alone are worth the price of admission, even if the rest of the film is somewhat forgettable. So book yourself a seat and head back to gangland New York. Robert De Niro is waiting to take you to the front line.
With his seasoned brilliance, it’s an enjoyable but frustrating ride.
The Alto Knights will be released by Warner Bros in UK cinemas this Friday.
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
