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Posts Tagged ‘Al Pacino’

Somehow I’ve ended up on weird movie-marketing promotional e-mail lists, so every so often an e-mail will make its way through the vast labyrinth of the web to land in my inbox.   It’s usually something random, but the other day I got this promotional e-mail for Righteous Kill, the new DeNiro/Pacino movie.

You can almost always sign me up for anything involving DeNiro and DeNiro and Pacino together in the same movie is pretty much made of radness, but I couldn’t help but notice something odd about the following picture.

I have no doubt the movie will be pretty cool, but man.   Pacino looks like he can barely keep that gun level.   That…might be a problem.

Is it wrong that I thought that DeNiro was initially John Goodman’s character from The Big Lebowski?

I kid, I kid.

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Al Pacino kills it in this movie.

Al Pacino plays Sonny, a down on his luck kind of guy who feels pulled in eighty different directions and who decides his best course of action is to rob a bank.  Of course, his plans go awry and his “perfect” robbery quickly turns into a siege, where Sonny and his hostages are holed up inside the bank, and the media descends like a pack of vultures upon the story.   It’s based off a real-life story, which is one of these stories that makes you agree with the old saying, “Truth is stranger than fiction”.

As Sonny’s best laid plans fall all apart, the story becomes more and more bizarre, when the police discover one of the reasons Sonny needs the money is to pay for his lover/wife’s sex-change operation to turn from male to female.   Nevermind that Sonny’s already married with children to another lady, and the news media can do nothing but air the more sordid details of Sonny’s life non-stop.

Al Pacino used to not just play himself, a fact I’ve lamented on this blog several times.   The older he gets, the more it seems like Pacino just plays himself over again, which is sadder when you look at his early body of work.   This is a far different character from any he had previously played, and he does it with a large amount of skill.   He manages to make Sonny, who’s pretty self-absorbed and who we see in moments of intense, trying stress, fairly likeable to the audience and more importantly, easily relatable to the audience at large, which necessarily isn’t the easiest task given some of the things that go on in Sonny’s life – it would be easy to dismiss him at large as a “freak” were it not for Pacino’s handle on Sonny.

In fact, Pacino’s scene where he runs outside the bank and leads the crowd in a chant of “Attica!   Attica!   Attica!”   is classic and should be remembered as such.

The most interesting thing about Dog Day Afternoon to me is how it relates in the present day.  Released in 1975, this is pre-Perez Hilton, pre-TMZ and before any of this constant barrage of paparazzi and entertainment reporting on what Britney Spears had to drink at Starbucks yesterday.   I think it’s harder for this film to have an impact nowadays because of the constant stream of information we have going on from celebrities to robberies to whatever, when this was such a newsworthy and bizarre story to so many people.  What was once bizarre is today commonplace, and it’s a little interesting to see the messages contained in a 1975 film about the media and this story.

It’s a very well made movie but lacking the punch it had in the ’70’s.   The changing times have changed what Dog Day Afternoon means to a whole new generation, I suppose.

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For most people in my age range, from 20 to about 30, The Godfather is a quintessential element of American film. It’s really hard for me to picture movies without The Godfather somewhere in the background, and I’m not sure why.

Most people my age automatically associate Marlon Brando with this movie in particular, not necessarily with many other great films Brando made during his career. It’s a movie that’s still referenced and still watched today, and even though it’s now over 35 years old, it still seems pretty fresh.

I actually own the Godfather trilogy on DVD. I and II have received repeated viewings in my household. I’m not ashamed to say that I’ve never made it through a single, whole viewing of Part III, mainly because it’s an awful piece of dreck, as most know. The only reason I can think of why I own it is that as a film nut, it feels wrong not to own the entire trilogy, but rather only two-thirds.

Back to the original, however. It’s obviously a well-crafted movie. The sets, costume design and lighting seem pitch perfect. The music is amazing. I can think of several movies, however, that have had all of these elements but fail to stick in the American psyche as firmly as The Godfather.

One of the main elements here is casting. The struggles Francis Ford Coppola went through trying to get Al Pacino cast as Michael are well-documented, since the studios were dead set against him, but Pacino is perfect as Michael Corleone. Whenever Pacino is brought up as an outstanding actor, a few movies (like Heat, Dog Day Afternoon and Serpico) come to mind, but none as vividly as The Godfather. Pacino takes a likeable character who is devoted to his family, a war hero who is initially presented as the most noble and honorable of his family and finely crafts him into a man driven by circumstance, his family’s choices and his own conscious choices into a ruthlessly cold monster. Pacino’s real genius is that it could be remarkably easy to hate and despise Michael Corleone, but the viewer sympathizes with him and roots for him all the way through Part I (the viewer/Michael schism, in my opinion, doesn’t come until Part II.) Marlon Brando is stellar as Don Corleone and the supporting cast does a wonderful job. Brando’s obviously given credit where credit is due, but in my opinion Pacino’s the cog that makes the machine work.

The story is classically American. It’s the veritable American dream, just in crime instead of an “honest living”. Don Corleone rises from nothing to have everything and his sons are in line to inherit his little empire. But the family is also typically dysfunctional. Connie Corleone marries a worthless abuser and her brother Sonny is constantly helping her out. Sonny’s no better, as he’s a serial cheater who even finds ways to philander during Connie’s wedding. Fredo is bumbling and needs constant supervision, while Michael’s practically the Boy Scout of the family. Don Corleone is the glue that holds the family together and they begin to rip apart at the seams quite quickly when he’s gunned down.

The movie, in the end, is about a family at the mercies of and done in by its own choices, whether its to look the other way or live a life outside the law, or to make bold rash decisions. Each choice leads the family down a separate path; but one could argue that many of them all lead to the same path in the end: death, as the Don and his wife die of old age, Sonny at the hands of a murderous gang, and part of Michael effectively dies when he commits murder and takes over as head of the family.

It’s a powerful story that resonates with people on a fairly epic scale. Out of all of the Best Picture Winners, this is easily in the top three of all time.

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