The inherent problem with any gangster movie starring Robert De Niro is that - fairly or not - it is inevitably gonna be compared to Goodfellas…and never measure up, even when he re-teams with Martin Scorsese. That’s not to say Casino and The Irishman aren’t great films, but come on…Goodfellas is freaking iconic.
The Alto Knights is certainly no Goodfellas. It ain’t Casino, either, though this one does boast a similarly constructed narrative by the same screenwriter (Nicholas Pileggi). And while Barry Levinson is no Scorsese, he did direct Bugsy, so he’s not a stranger to the genre. So let’s cut Bobby, Nicky and Barry a bit of slack and try to assess this one on its own terms.
First off, The Alto Knights indulges in a little stunt casting of sorts, with De Niro playing both lead roles. Frank Costello and Vito Genovese have been friends since childhood, both becoming high ranking mob bosses. As the movie begins, Frank is shot the head but survives. Also serving as the story’s narrator, Frank reveals it was Vito who ordered the failed hit.
This sets up the remainder of the story, which details how and why the two became enemies: Before going into hiding for 15 years, Vito left Frank in charge of everything. After returning, Vito wants it all back, but as Frank tries to explain, a lot has changed since the old days. Frank is generally soft-spoken, reserved and a meticulous planner, while Vito is brash, hot-headed and more than a little paranoid, which makes him dangerous. Even after Frank decides he’s had enough of mafia life and wants out, Vito now sees him as the enemy.
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| Robert sticks himself with the bill. |
Either way, De Niro is the best part of the film. He's supported by a decent cast, but other than Debra Messing as Frank’s concerned wife, most have comparatively little actual screen time. Elsewhere, the narrative structure - and Pileggi’s screenplay - definitely evokes a strong sense of deja vu, but in a way, that’s part of its overall appeal…a slice of mafia movie comfort food, if you will. As a director, Levinson can’t match the energy and exuberance of Scorsese, but if nothing else, this is his best movie in years.
The Alto Knights is no classic and ain’t destined to be mentioned among Hollywood’s greatest mob movies. In fact, it’ll probably be largely forgotten in a year or two. But keeping that in-mind, the movie still works as an engaging (if familiar) way to kill a few hours.
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