We recently reported on the trials and tribulations
everyone associated with “Gotti†experienced over the seven years expended in
attempting to bring the biopic to the big screen (the film has more producers
credited than the entire population of Lichtenstein.) . When the film did open,
it earned the rare distinction of being unanimously panned by the critics
surveyed on Rotten Tomatoes. So, I guess I’m out there on my own when I say I
found the film to be quite satisfying on any number of levels. Mind you, I’m
also a defender of Michael Cimino’s “Heaven’s Gateâ€, so you should take that
into consideration. To read the reviews of this troubled production, one would
think it was genuinely awful. It isn’t. In fact, there is much to recommend
here, not the least of which is the very effective performance by John Travolta
as the titular New York crime boss John Gotti. It’s a bold performance by
Travolta, as he ages on screen from a young, aspiring mob member to an older
man dying from throat cancer while locked in solitary confinement in a federal
penitentiary. Travolta looks the part and captures the swagger of Gotti. His
performance here represents his most ambitious and impressive work on screen in
many years.
The film, directed by Kevin Connolly, rather
superficially chronicles Gotti’s rise from lowly Mafia henchman to a mid-range
boss under the command of Gambino crime family cappo du tutti capo Paul Castellano (Donald John Volpenhein). Gotti
is displeased with “Big Paul†because he inherited his status in the mob as
opposed to having coming up from the streets and earned respect the
old-fashioned way. Worse, Castellano resides in a mansion on a hill and has
never developed personal friendships with his underlings. That’s not only a
job-killer if you’re in the Mafia, it’s also a trait that doesn’t bode well for
anyone looking forward to enjoying old age. The film depicts Gotti plotting to
use a team of confederates to assassinate “Big Paulâ€, with the tacit approval
of his immediate superior and mentor Neil Dellacroce (marvelously played by
Stacy Keach), who everyone believes should hold the position “Big Paul†now
enjoys. But Dellacroce is terminally ill and he gives his blessing for Gotti to
“off†him which infamously occurred when the target and his driver were dining
at Sparks Steak House in Manhattan. Gotti is then established as the boss of
the Gambino crime family.
The screenplay by Lem Dobbs and Leo Rossi is admirable on
several counts. The dialogue rings true to anyone who grew up in or around New
York City (yes, I know guys who still joke “I wouldn’t fuck her with your dickâ€) and there are some powerful
scenes that truly resonate from a dramatic standpoint. But the writers err by
failing to tell the tale in a linear manner. Instead, events hopscotch all over
the decades. In one scene Gotti is a young hood looking to impress his bosses
by performing a hit. Next we see him as a middle-aged man trying to cope with
domestic problems and grieving over the death of his young son in a traffic
accident. (Gotti’s wife Victoria is played by Travolta’s real-life wife Kelly
Preston in a fine and convincing performance.) Next we see an almost
unrecognizable Gotti as a bloated older man fighting terminal throat cancer in
prison. The constant intermixing of varying eras is befuddling and matters
aren’t helped by an over-abundance of chyrons identifying various minor
characters who don’t play a major part in the goings-on.
The movie accurately portrays Gotti’s reputation in
Queens as that of a folk hero among the local working class. His annual ad-hoc,
unauthorized Fourth of July street fair and fireworks show involved dispensing
free food and drinks to anyone who showed up. When the police tried to stop the
extravaganzas, Gotti accused them of being unpatriotic and he was allowed to
continue. This manipulation of the middle class was essential in maintaining
his grass roots support. He wasn’t the first authoritarian figure to realize he
could manipulate naïve people by tossing them some crumbs while obtaining
significant ill-gotten gains for himself. He also wasn’t the first dictatorial
personality to wrap himself in faux patriotism, and history has proven he wouldn’t
be the last. One would think that working class people would resent a man who
wore expensive suits and lived the high life, but the image of the swaggering,
unapologetic narcissist only endeared him to his supporters. Where Gotti erred
was in not following the tradition of the older mob bosses who kept a low
profile, never gave interviews and avoided being photographed. Gotti couldn’t
resist playing to his image and loved seeing his face on TV and in the New York
tabloids. He also wasn’t a criminal mastermind. He continued to plot crimes at
his inconspicuous “social club†despite knowing the place was thoroughly bugged
by the FBI. He wasn’t a great judge of character and was ultimately the
betrayals by some of his closest confidants such as Sammy “The Bull†Gravano
that resulted in the “The Teflon Donâ€â€™s luck running out. His years of fame and
fortune paled in comparison to his lonely, painful death in prison, largely
estranged from his family.
The date was Wednesday, March 27, 1974.
The film premiering that night at Radio City Music Hall was Mame. This first public screening of the
lavishly produced and choreographed story, which took Broadway by storm in the
1960s, was a laborious experience for everyone involved. With its much
anticipated release, cast and crew alike showed up to offer their support and
to delight in the audience’s appreciation. Even the star, Lucille Ball,
attended this highly publicized event. For the first time, fans got a different
glimpse of their favorite television personality. That evening, she arrived not
as the ravishing redhead people were used to seeing, but as a black-haired
beauty in a white dress, which was quite short and just happened to be featured
in the film. Moviegoers were getting a preview of what was to come.
And what an entertaining extravaganza
it was! The alluring ambiance in every scene, as well as the divine dancing and
sensational singing, kept viewers enthralled for the entire two hours and
twelve minutes of the picture. Everybody except the critics, of course.
For the most part, the reviewers did
not have nice things to say about Mame
or its featured players. Some noticed the sentimentality that came through
during certain moments, such as the scene in which the main character and
Patrick, her young nephew, sing “My Best Girlâ€. However, the majority of them
failed to properly acknowledge a movie that took two years to complete and cost
around $12,000,000 to produce. This was especially true with Lucille Ball’s
performance. Considering the faith Warner Brothers had in their chosen leading
lady, the negative notices were a major letdown to the studio and to the
actress herself.
Playing Mame meant so much to Lucille.
She saw the role as her last chance to prove to the world that she possessed
what it took to be a glamorous movie star. Never one to pass up an opportunity,
Lucille made it her ultimate goal to win the producers over. Indeed, they saw
something special in her that no other actress could radiate.
Once she nabbed the covered part,
Lucille put a lot of effort into creating her own interpretation of the
character. Unfortunately, all of this hard work came to a halt when she broke
her leg while skiing in Colorado. Lucille felt bad about holding up production.
When producers learned about her fear of being replaced, they quickly assured
her they would wait for her return.
With projects featuring such big names
as Barbra Streisand and Robert Redford, Warner Brothers cranked out movies that
were popular among the younger crowds. When the company purchased the rights to
the musical version of Mame, they
envisioned it as a picture everyone could enjoy. Therefore, finding a seasoned
entertainer who had plenty of clout became necessary. At the time, Lucille was one
of the most influential women in Hollywood, due to her achievements behind the
scenes as much as on camera. This factor made it practically impossible for her
fellow contenders to be chosen over her.
All of the power in the world could not
prevent the barrage of crass comments made by the critics. They took aim at
everything from her gravelly voice to her extreme thinness. Despite the harsh
remarks, Lucille refused to let her anguish interfere with the promotional tour
she embarked on soon after filming wrapped. She willingly posed for
photographs, endured the mundane task of answering repetitive questions asked
by inquisitive reporters, and appeared on talk shows like The Tonight Show Starring Johnny
Carson and Phil Donahue.
Suddenly, the most recognizable female in the field of physical comedy was
popping up everywhere.
The cheerful facade occasionally
slipped, allowing her candor to reveal itself. Blaming photographers, Lucille
once admitted to a journalist that she felt old. Tired of seeing unflattering
images of herself every time she picked up a newspaper or magazine and the
press stomping on her already crushed ego, she vented her vexation at anyone
who would listen.
Having devoted such a huge chunk of
time to understanding the inner workings of an outspoken woman began affecting
what she said when discussing other topics as well. Always thought of as brash,
the ordeal that came with making and advertising Mame only hardened Lucille, solidifying her opinion of the changing
industry. Interviewers expecting her jocular side were shocked when she
unabashedly addressed her abhorrence for movies containing excessive nudity and
sex.
Those familiar with the bygone era of
the studio system comprehended Lucille’s belief that family friendly films had
the capability to restore traditional values that they felt had been tossed
aside for far too long. This wholesomeness started when she worked at MGM.
Louis B. Mayer prided himself on preserving the pristine illusion so
meticulously maintained by all who flourished under his supervision.
Mame
took on a deeper meaning for those who could remember that simpler, carefree
time in history. Just as they had done during the Great Depression, people
forgot about their worries and eagerly embraced the energy exuded on camera.
They listened with a gleam in their eyes and hope in their hearts as Lucille
sang the lyrics to “Open A New Windowâ€.
Women related to her optimism. They
felt the movie catered to their tastes. In actuality, it was produced with them
in mind. When speaking about Mame,
Lucille expressed a strong urge to please the ladies who waited in line to see
the film. She wanted them to know it was their picture. Finally given the
respect they deserved, their gratitude poured out. If only Lucille Ball and Mame had received the same reverence.
(Considered highly knowledgeable in the vintage film
era, Barbara Irvin has written for Classic Images. Most recently, she wrote a
very detailed profile about Angela Lansbury and her husband, Peter Shaw. This
is her first article for Cinema Retro.)
EVE GOLDBERG presents an in-depth examination of the only film Marlon Brando ever directed: "One-Eyed Jacks" (1961)
"ONE-EYED JACKS: AMERICA AT THE CROSSROADS"
A new movie schedule arrived
every few months.A two-sided paper
treasure chest brimming over with promises of time travel, existential wisdom,
and singing in the rain. Wild
Strawberries, City Lights, Battle of Algiers, Belle de Jour.
We grabbed up the schedule
and studied it with care, taped it to the refrigerator door, marked our
calendars.The African Queen, Yojimbo,
Rules of the Game.
We made cinema voyages all
over town — to the Vista in Hollywood, the Nuart in West LA, the art deco Fox
Venice.Before VCRs, DVDs or streaming,
revival movie theaters were about the only place a film junkie could get a
fix.We might find an occasional nugget
on late night TV, John Ford’s Stagecoach,
perhaps, or Invasion of the Body
Snatchers, but for the most part, it was the revival house or nowhere.Citizen
Kane, La Dolce Vita, Alphaville.
Finally, I think it was
1974, One-Eyed Jacks arrived.We trooped down to the Fox Venice, waited in
a long line, found seats in the filled-to-capacity theatre, and settled in for
the ride.We were not disappointed.From the opening shot — Brando casually
eating a banana during a bank robbery — the film was like no Western we had
ever seen.Moody, psychological,
ambiguous, it was awash in sadomasochism, with a brooding Brando in nearly
every scene.And yes, the actor gets his
whipping in a scene of perverse cruelty which sears into memory.
Back in 1974, we knew we had
seen an odd, strangely subversive, one-of-a-kind film.We didn’t know, however, that this quirky
little revenge gem would someday be considered an important (if flawed)
masterpiece of cinema, and a fascinating link between two eras in Hollywood…and
America.
The Western is a
quintessentially American film genre.From its earliest days, the cowboy drama was about good guys (white
lawmen) confronting bad (Indians, outlaws).Each movie was a tale of expansionist dreams and masculine
aggression.Each was a saga of
civilization triumphing over savagery.The Western was, to quote film critic J. Hoberman, “the way America used
to explain itself to itself.â€
Edwin Porter’s 1903 film, The Great Train Robbery, was one of the
first Westerns.This 12-minute story in
which bandits rob a train, only to be pursued by a posse of lawmen,
revolutionized the art of cinema.Porter
used ground-breaking techniques such as cross-cutting and close-ups to create a
suspenseful, compelling narrative.The
basic elements of the genre were set.
The Western remains
instantly recognizable across more than a century of evolving media and
myth-making.Gunfights, holdups, and
massacres.Horses, trains, rustlers, and
barroom brawls.School-teachers,
stampedes, and six-shooters.
The Golden Age of the
Western is often considered to be the years 1946-1973.Following World War II, with the Cold War
blazing hot on the beaches of Korea, the U.S. declared itself the new global
sheriff in town.At home, the Eisenhower
Era earned a reputation as being a time of complacency and consumerism.But these were also the McCarthy years, when
right-wing witch hunts against political progressives were ruining lives and
careers.And, at the same time, the seeds
of change were taking root.A young
civil rights movement began asking America: What the hell are the good guys who
fought Hitler doing about racial discrimination and bigotry at home?