Casino: Head in a Vice Greg Metcalf

What would a scene from Home Alone be like with ‘Casino Joe Pesci’ instead of ‘Home Alone Joe Pesci’?

submitted by pastdense to AskReddit [link] [comments]

In this scene from CASINO,the hitman in the hat is former mobster frank cullotta.He was lieutenant to mob boss tony spilotro,who joe pesci's character is based on.

In this scene from CASINO,the hitman in the hat is former mobster frank cullotta.He was lieutenant to mob boss tony spilotro,who joe pesci's character is based on. submitted by DrunkAssCrumPetree to MovieDetails [link] [comments]

One of the best scenes from Casino. No one loses his shit quite like Joe Pesci

One of the best scenes from Casino. No one loses his shit quite like Joe Pesci submitted by cloudnyne to videos [link] [comments]

TIL while filming scenes in two of Martin Scorsese's films ("Raging Bull" and "Casino"), Joe Pesci broke the same rib, 15 years apart.

TIL while filming scenes in two of Martin Scorsese's films ( submitted by IanGecko to todayilearned [link] [comments]

In this scene from CASINO,the hitman in the hat is former mobster frank cullotta.He was lieutenant to mob boss tony spilotro,who joe pesci's character is based on.

In this scene from CASINO,the hitman in the hat is former mobster frank cullotta.He was lieutenant to mob boss tony spilotro,who joe pesci's character is based on. submitted by me_uh_wallace to u/me_uh_wallace [link] [comments]

[movies] Joe Pesci threatening the Banker in Casino is probably the best threatening scene ever

[movies] Joe Pesci threatening the Banker in Casino is probably the best threatening scene ever submitted by PlaylisterBot to radditplaylists [link] [comments]

That scene when Joe Pesci's character died in Casino (1995).

That scene when Joe Pesci's character died in Casino (1995). submitted by g0f0 to videos [link] [comments]

One of my favorite scenes from one of my favorite movies. Ladies and gentleman I give you Joe Pesci in Casino. (1995)

One of my favorite scenes from one of my favorite movies. Ladies and gentleman I give you Joe Pesci in Casino. (1995) submitted by harmsRay to movies [link] [comments]

"Casino" Desert Scene - Rarity (Robert De Niro) and Applejack (Joe Pesci)

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A Cinematic Guide to The Weeknd: Pt 3. My Dear Melancholy and After Hours

A Cinematic Guide to The Weeknd: Pt 3. My Dear Melancholy and After Hours

My Dear Melancholy

Gaspar Noe/Cannes Film Festival
The My Dear Melancholy era notable for being a time when The Weeknd was in proximity to a lot of serious directors. While he’s had a foot in Hollywood for awhile, 2017 through 2019 he was actively engaging with filmmakers like the Safdies Brothers, Gaspar Noe, and Claire Denis, amongst others. While he had been actively courting the Safdies since Good Time was released, he attended the 2018 Cannes Film Festival where he crossed paths Noe, whose film Climax took home a number awards at Cannes. Noe’s Enter the Void had previously served as an inspiration for Kiss Land, and for MDM (and later After Hours) seem to call back to Noe’s other films, like Irreversible and Love, which are both twisted depictions of heartbreak. On the other hand, Climax is about a French dance troupe who accidentally take LSD, and according to Noe is not a “message” movie. It is an audacious psychedelic technical exercise, with numerous long takes and highly choreographed set pieces. The idea for Noe, who had previously captured the feeling of drugs in previous films, was to do the opposite, and present the objectively reality of drugs, watching people high from a sober perspective.
Noe is a rather strong advocate of film, and the opening scene of Climax features VHS boxes of a number of films that have influenced his filmmaking. Two of note are Schizophrenia, otherwise known as Angst, one of Noe’s favorite films which The Weeknd name checked to the Safdies, and Possession, which would go on to be an influence on After Hours (more on this later). He is also said to have sat next to Benicio Del Toro at Cannes, which means he likely caught some of the Un Certain Regard section, where Del Toro served as a jury member. Outside of that section, there were a few other films of interest such as The House That Jack Built from Lars Von Trier (The Weeknd has previously expressed affection for Von Trier’s Antichrist), Mandy from Pastos Costamos, and music video director Romain Gavras’s The World Is Yours, as well as a restoration of 2001: A Space Odyssey, which Noe has referred to as the film that got him into filmmaking.
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Asian Cinema
Later in 2018, The Weeknd continued his globetrotting with a tour of Asia. He once claimed in an interview that whenever visiting a foreign country he only watches films from there. I’ve previously written about the influence of Asian cinema on Kiss Land, and there’s not enough work from the MDM era to glean anything cinematically adjacent to this, but now would be a good time to mention that the "Call Out My Name" video was heavily inspired by the work of famed Japanese photographer Hiroshi Sugimoto. The Asian tour poster seems to be a reference to Ichi the Killer, which leads us to Takashi Miike. Though he is notoriously prolific across a number of genres, his most popular works internationally are genre melding blends of horror, comedy and crime, most notably Audition, Ichi the Killer and Gozu. Another film worth mentioning is Perfect Blue, Satoshi Kon’s masterwork about a pop star’s mysterious stalker that The Weeknd posted about on Instagram before. Bloody and haunting, the film was a major influence on Darren Aronofsky’s Black Swan and Requiem for a Dream. In Interviews he has also mentioned a number of Korean films, such as The Wailing, I Saw the Devil and Oldboy. While Wong Kar Wai was previously mentioned as an influence on Beauty Behind the Madness, also worth mentioning is the work of John Woo, specifically A Better Tomorrow, well known for the shot of smoking a cigar off money, and Infernal Affairs, Andrew Lau’s crime classic which served has the basis for Scorsese’s The Departed.
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After Hours

Martin Scorsese
While After Hours more so than any other Weeknd album is bursting at the seams with cinematic references, the influence of Martin Scorsese stands above all. Similar to The Weeknd’s body of work, many Scorsese’s are explorations of violence and masculinity, investigating them from a perspective that depending on who you ask (and how they’re feeling) glamorizes, condemns or just simply presents the reality of characters on the fringes of society.
While there are direct references to a number of prominent Scorsese films, what’s interesting is that his influence also reverberates in other films/filmmakers that influence After Hours. Todd Phillips’s Joker is in effect an homage to Scorsese’s loner-centric New York films, and the Safdie Brothers have been putting their own millennial spin on the type of 70s gritty thriller that Scorsese trafficked in (Scorsese was also a producer on Uncut Gems). Specific Scorsese works will be discussed more in depth in the requisite sections, but it is worth mentioning upfront what a prominent role that Scorsese plays in the nucleus of After Hours.
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Urban HorroIsolation
With After Hours, The Weeknd departs from the slicker sounds and influences that permeated Starboy and returns to the cinematic grittiness of Beauty Behind the Madness. While urban horror is a theme that permeates throughout The Weeknd as a project overall, there is a thorough line to be drawn here that follows a number of 70s and 80s cinematic and aesthetic references. For one thing, while the initial bandaged nose was a reference to Chinatown (previously, The Weeknd has a Kiss Land demo titled "Roman Polanski"), the full bandaged face that is so prominently featured throughout the After Hours era is a classic cinematic visual trope that was especially prominent throughout 60s and 80s, though it saw a slight re-emergence in the 2010s. The fully bandaged face is often used to remake someone in the image of another, usually against their will (The Skin I Live In, Eyes Without Face), or as a case of mistaken identity and doppelgängers (Good Night Mommy, Scalpel), themes present throughout much of After Hours. The "Too Late" video acknowledges these references, but instead presents the bandages on two Los Angeles models recovering from plastic surgery, in a nod to a famous Steven Meisel’s photoshoot for Vogue Italia.
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The “masks” people wear is another horror trope that is featured prominently on After Hours, and this is best seen in the red suit character. One important reference in the film is to Brian De Palma’s Dressed To Kill, where a serial killer is targeting the patients of a psychiatrist (any more on this film will veer towards spoiler territory). The Weeknd is on the record as saying Jim Carrey’s The Mask as being a large influence on the Red Suit character, it being one of the first film’s he watched in theaters. One of the more complex references would be to Joker. While it sort of an in-joke that the character of the Joker is commonly overanalyzed and misinterpreted, referencing Todd Phillips’s Joker is more nuanced because it is in essence a full on homage to Martin Scorsese’s New York films, most notably Taxi Driver and The King of Comedy, which focus on eccentric loners, and can both be seen as cautionary tale of urban isolation, a theme explored perhaps in songs like "Faith." The King of Comedy revolves around a would be obsessive stand up Rupert Pupkin haggling his way to perform on late night TV, with The Weeknd’s talk show appearances being a prominent part of the early After Hours marketing, most notably in the “short film”. This idea of isolated and compressed urbanites recurs throughout After Hours and it’s films.
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The idea of urban repression is in the subway scene of the After Hours short film. The entire film itself is something of a reference to the subway scene to Possession (another Gaspar Noe favorite), mimicking the (also subway set) scene in which Isabelle Adjani’s Anna convulses on the subway due to a miscarriage, as well as Jacob’s Ladder, a 90s cult classic horror film starring Tim Robbins as a Vietnam vet (like Taxi Driver’s Travis Bickle) who is experiencing demonic hallucinations, encountering them in the subway and later at a party he attends, splitting the scene into two.
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Las Vegas
As always, The Weeknd once again grounds After Hours with a strong sense of place, this time setting the album against a nocturnal odyssey through Las Vegas. One of the most prominent films is Fear and Loathing in Las Vegas, Terry Gilliam’s adaptation of Hunter S. Thompson’s book. This is directly referenced in the "Heartless" video, which sees The Weeknd and Metro Boomin in the Johnny Depp and Benicio Del Toro roles as they tumble through a Las Vegas casino. The Weeknd has gone on the record to state that the famous red suit character was influenced by Sammy Davis Jr.’s character in the film Poor Devil. However, similar red suit has also been sported by a number of Vegas characters, most notably Richard Pryor and Robert De Niro’s Sam Rothstein in Martin Scorsese’s Casino. With the red suit, The Weeknd seems to be playing with the idea of a devil-ish other, another side of his personality that emerges in Las Vegas.
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While the city lights are the oft discussed part of part of Las Vegas, it should be noted that similar to Beauty Behind the Madness, the desert that surrounds Las Vegas is just as important to the juxtaposition of its beauty. The "Until I Bleed Out" video ends/"Snowchild" video in the desert, similar to the confrontation between Robert De Niro’s and Joe Pesci’s showdown in the desert in Casino, as well as Joe Pesci's death in Goodfellas. The idea of a hedonistic desert playground also bears semblance to Westworld, both the film and the TV show. The desert seems to represent some sort of freedom to The Weeknd, as the "Snowchild" video portrays the desert as a pensive location for reflection, as well as the "In Your Eyes" video showing the girl prominently dancing with the dismembered head out in the open, in reference to The Texas Chainsaw Massacre, another prominent desert film.
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New York/The Safdies
Despite it’s Las Vegas setting, After Hours also takes a good amount from films set in New York, most notably Martin Scorsese’s 1983 film After Hours. Besides the title, After Hours is similarly about a twisting and turning nighttime odyssey. The film stars Griffin Dunne as Paul, a working class stiff who heads downtown to rendezvous with a woman he met at a diner earlier that night. Of course, things don’t turn out the way they should, chaos ensues, and Paul is set on a dangerous trek back uptown. Like the film, the album After Hours is set off by a woman (though the album takes more stock in romantic endeavors), seems to be set over a single night (or at least a condensed period of time), and involves similar chaos and misadventures (sirens at night at the end of Faith). Tonally, After Hours the film is more comedic perhaps than After Hours the album, however The Weeknd is on the record as having said that "Heartless" and "Blinding Lights" placement on the album is intended to be somewhat comedic, reflecting exaggerated machismo and ecstasy, respectively (to comedic effect).
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Another of the most prominent filmmakers of After Hours are the Safdies, who featured The Weeknd in Uncut Gems. They also served as a link to Oneohtrix Point Never, who scored their last two films and later worked After Hours. I believe there are three major film tropes (not genres) that inspired After Hours, all of which the Safdies’s have engaged with. There is the one-long-night films, in which a character spends one-long-night on the run from whatever chaos and forces may be that they left in their path. This can be seen in the Good Time, as well as After Hours (the movie). Then, there is the descent-into-madness type, where a character slowly loses grip with reality and ends up in over their head (something like Scarface or Breaking Bad, but for our purposes Jacob’s Ladder can be categorized here as well), which the Safdies did with Uncut Gems. Lastly, but maybe most importantly, the Safdies also explored toxic romance (more on this later) in their less seen film Heaven Knows What, about two heroin addicts and the destructiveness their love brings out in each other, an idea that recurs throughout After Hours on songs like "Until I Bleed Out" and "Nothing Compares." A recurring song throughout Heaven Knows What is Isao Tomita’s synth version of Debussy’s "Claire De Lune", which is featured in some episodes of Memento Mori and bears some resemblance to the start of "Alone Again".
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Obsession/Toxic Romance
While love and lust and the ups and downs with it have been a formative part of The Weeknd’s ideology and themes, I don’t think it would be remiss to say that After Hours is perhaps his most outwardly romantic album. Despite this, one of the major arcs of the album is toxicity that comes with it, which a number of already mentioned films deal with. While "In Your Eyes" is one of the more romantic and accessible songs on the album, a re-assessment of it Ala Sting’s “Every Breathe You Take” could frame it as lonely obsessing, such as Travis Bickle’s infatuation with Jodie Foster’s teenage prostitute Iris, Joker's fixation on Murray Franklin, Rupert Pupkin’s obsession with Jerry Langford. Casino also deals with toxic romance, another prominent theme in After Hours, best seen in the love triangle that forms between Sam, his partner Nicky and his wife Ginger, played by Joe Pesci and Sharon Stone respectively.
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In almost all of the After Hours’s video content, The Weeknd seems to constantly meet his demise at the hands of women. Another interesting reference that may be something of a reach is to Phantom Thread, Paul Thomas Anderson’s film about Reynolds Woodcock, a couture dressmaker loosely based on Cristobal Balenciaga and his muse Alma, played by Daniel Day Lewis and Vicky Krieps, respectively. The film delves into their dysfunctional relationship, with Woodcock berating her and Alma poisoning his tea to keep him dependent on her. One of the highpoint of the film is a New Years Eve Party that bears strong resemblance to the "Until I Bleed Out" video. While the balloons may just be a callback to his earlier work, there is something about the color grading/temperature and the production design of the "Until I Bleed Out" video (as well as parts of the "Blinding Lights" video) that made me immediately think of Phantom Thread. A similar relationship is seen in the German horror film Der Fan, which The Weeknd has mentioned in a recent interview. In Der Fan, a young girl Simone spends her days obsessing over popstar R, until she finally encounters him outside his studio. The film is similar to the aforementioned Takashi Miike’s Audition in its exploration of obsession and idealization. In the film, an older man puts up a fake casting call to search for the perfect girlfriend. While Audition explores these themes from an Eastern perspective of societal pressure, Der Fan explores it through a Western lens of pop idolization and idealization. Both films deal with the idea that despite outward appearances, the perfect partner does not exist, and anyone that claims to be (or has the expectations put on them) is not who they seem.
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One film he has spoken at length about is Trouble Everyday, Claire Denis’s arthouse vampire movie. The film stars Vincent Gallo as Shane, a scientist who travels to Paris under the guise of his honeymoon to track down core, a woman who he was once obsessed with who has now become a vampire. Core is locked up in a basement but sometimes sneaks out to seduce and consume unwilling victims. This seems to be where some of the bloody face stuff comes from, but I believe it’s influence is a little more conceptual. To me, a good companion film to Trouble Everyday is American Psycho, which seems to also have been a thematic influence on After Hours. Both films concern idealized version of masculinity and femininity, both very sexual and physical, but hostile as well. American Psycho ends with Patrick Bateman confessing to the killing of a prostitute, but no one believe him. Trouble Everyday ends with Shane killing Core, but Shane is unable to arouse himself after that except through violence. Koji Wakamatsu, a former Yakuza turned prominent extreme Japanese filmmaker (and a major influence on Gaspar Noe) is quoted as saying “For me, violence, the body and sex are an integral part of life.” Despite being hollow, idealized impressions of the self, a vampire and as a banker (cold, seductive bloodsuckers = monsters), Patrick Bateman and Core represent the Frankenstein-ian relationship between sexuality and violence, which I believe is the main theme of After Hours. Truly, we hurt the ones we love.
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Postscript

To cap things off, I would just like to illuminate some key takeaways. As a filmmaker myself, this has been an extremely helpful exercise in understanding other artists process and ideas.
Steeped in the history of the medium…
It’s clear that The Weeknd is not your typical “I’m influenced by cinema” artist but an extremely legit film buff with serious credentials. The Weeknd’s film taste leans towards 70s-00s genre works, mostly horror, drama and thriller, and is well versed in the classics but also has the nose to sniff out deeper cuts and obscurities. The mantra of “good artists borrow, great artists steal” works even better if not many people know where you’re stealing from! What is impressive to me is that he is not just versed in “mainstream” obscurities, but also serious deep cuts. Films like Possession and Phantom of the Paradise may not stick out to the average person on the street but are well known in most film circles. Films like Inland Empire and New Rose Hotel (Der Fan was especially impressive to me, it is one of my favorite films) however are not as well known and it is very impressive to me that he can come across films like that, and really get enough out of it to bring into his own work.
…is able to interpolate contemporary/mainstream films…
This perhaps is one of the most impressive aspects of his integration of film into The Weeknd’s work. It is very easy for film buffs to get lost within their own obscure taste, living in a world where everyone is an idiot for not knowing who Shinya Tsukamoto. Trilogy and Kiss Land had a lot of contemporary obscurities, like Stalker, David Lynch etc., well known but they still existed as artifacts, not of the time we live in. However, perhaps picking something from his work on Fifty Shades of Grey, of late he has kept his finger on the zeitgeist and anticipated/integrated what the filmmakers of today are doing, such as his work on Black Panther and Game of Thrones, general appreciation of Tarantino, the works of Nicolas Winding Refn in Starboy, and his use of the Joker and Uncut Gems on After Hours, both of which came out just a few months before the album. It feels Jackson-esque, and I believe this is one thing that will help him further in his quest for pop stardom.
…while also being fully in tune to the works of modern transgressive auteurs…
In addition to keeping up with the mainstream is in touch with, The Weeknd also makes it a point to seek out and learn from the cutting edge filmmakers of today. While the Safdies were always going to blow up, I don’t doubt that a Weeknd co-sign accelerated their rise. Gaspar Noe is one thing, Enter the Void and Irreversible exist as masterpieces of the mainstream obscurities I’ve been mentioning, but he really truly tries to understand the heart of Noe’s work, even going so far back as to understand Noe’s influences (I sincerely hope he is tuned in to the work of Koji Wakamatsu). But most of all, to be a fan of Claire Denis is one thing, but to seek her out and make her an offer that she ACCEPTED is absolutely astounding to me. Just spitballing but it would be like if Michael Jackson shot a music video with Rainer Werner Fassbinder (who I’d bet good money that The Weeknd was put on to by Noe). We can only PRAY that one day we will be blessed with a David Lynch Weeknd video.
---------------------------
…and that just about does it. Hope you enjoyed this and thanks for being patient with me. I got quite busy after the first two and had my own projects/work going that kept me occupied. As we’re still technically in the After Hours era, I also wanted to wait until a few more videos and interviews came out to aid me in my research.
I also wanted to find enough time to make the Letterboxd for this. I personally don’t love Letterboxd culture, I find the popular culture surrounding the site a bit snobbish and exclusive, but I’ve gotten a number of requests for one and you gotta give the people what they want. Throughout the list are a few films that he hasn’t mentioned but are some of my personal favorites and I believe Weeknd fans will like, I encourage you to accidentally stumble upon things on it. Don't overthink, just pick something and watch!
If you’d like to follow me further, you can find me on Instagram here, where I post about film reviews Letterboxd style. I prefer Instagram so that more average people see it instead of an echo chamber of film snobs. I am also a filmmaker myself, I just recently wrapped this short film and am currently in the process of putting together my next project.
The main reason I did this however, besides a general appreciation of The Weeknd’s work, was to put more people on to the beautiful art form that is cinema. One thing I learned from Scorsese is that one must be an advocate and truly champion your medium. I hope that this encourages to check out more interesting movies than they wouldn’t normally come across, and I hope this will inspire more people to create more as well, whether it be to write, make films, music, anything. If even one person picks up a pencil, a camera or a keyboard because of these posts, I will be satisfied.
Thanks all!
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I've watched Casino.

The reason why I watched clips of Martin Scorsese's 1995 Las Vegas crime drama epic is me scrolling down the Bowdlerise Film page on TV Tropes, which had a section about the hilarious censorship of the movie, and I watched clips of it on YouTube. I only watch this mob movie because it has Joe Pesci, one of my favorite actors growing up when I saw him in Home Alone. As for my honest opinion on this film, while it doesn't break new ground in cinema, it's still fairly serviceable in terms of acting, cinematography, soundtrack, and the Las Vegas setting, which are pretty good. Not as good as, say, Goodfellas, but still fine on its merits.
The movie's best parts are when Ace Rothstein throws out a cowboy who put his feet on the table at the Tangiers Casino, Nicky Santoro putting Tony Doggs' head in a vise, Ginger McGee going berserk, and the meeting in the desert. The one thing I would complain about is the excessive profanity. Look, I know mobsters don't always have the cleanest mouths out there, but jeez, do they have to use nearly every swear word in the book to convey to us that it's a gritty mob drama? Others like it don't always rely on this gimmick 100% of the time, and we still get what they're trying to tell us. I'm not again swearing in movies. In fact, I tolerate most swear words with the exceptions of the F-word, the C-word, the C-sucker word, and the T-word, the former three of which are uttered in Casino sometimes gratuitously. I do find Pesci's usage of the F-word to be funny at times in specific scenes. Overall, I would rate a 6-7 out of 10 or 3 and a half stars.
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[UK] Goodfellas (1990) - Former mobster Henry Hill recounts his colourful yet violent rise and fall in a New York crime family -- a high rolling dream turned paranoid nightmare. Classic from Martin Scorsese with Ray Liotta, Robert De Niro and Joe Pesci.

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'The Irishman' Review Thread

Rotten Tomatoes: 100% (8.97 in average rating) with 41 reviews
Critics consensus: An epic gangster drama that earns its extended runtime, The Irishman finds Martin Scorsese revisiting familiar themes to poignant, funny, and profound effect.
Metacritic: 92/100 (23 critics) "must-see"
As with other movies, the scores are set to change as time passes. Meanwhile, I'll post some short reviews on the movie.
De Niro’s always at his best in the context of a Scorsese-mandated tough-guy routine, and Frank Sheeran gives the actor his most satisfying lead role in years. Sheeran appears in virtually every scene, and the story belongs to his colorful worldview the entire time. He may be an aging man telling tall tales, but that puts him in the same category as the one behind the camera. Sheeran, however, lost touch with his world long before he left it. With “The Irishman,” Scorsese proves he’s more alive than ever.
-Eric Kohn, IndieWire: A
Despite the movie's many pleasures and Scorsese's redoubtable directorial finesse, the excessive length ultimately is a weakness. Attempts to build in social context during the Kennedy and Nixon years, at times intercutting news footage from the period, aren't substantial enough to add much in terms of texture. The connections drawn between politics and organized crime feel undernourished, and the movie works best when it remains tightly focused on the three central figures of Frank, Russell and Jimmy. Netflix should be commended for providing one of our most celebrated filmmakers the opportunity to revisit narrative turf adjacent to some of his best movies. But the feeling remains that the material would have been better served by losing an hour or more to run at standard feature length, or bulking up on supporting-character and plot detail to flesh out a series.
-David Rooney, The Hollywood Reporter
Martin Scorsese’s “The Irishman” is a coldly enthralling, long-form knockout — a majestic Mob epic with ice in its veins. It’s the film that, I think, a lot us wanted to see from Scorsese: a stately, ominous, suck-in-your-breath summing up, not just a drama but a reckoning, a vision of the criminal underworld that’s rippling with echoes of the director’s previous Mob films, but that also takes us someplace bold and new.
-Owen Gleiberman, Variety
And the big ticket world premiere at this festival is its opening-night film, The Irishman, a nearly three-and-a-half-hour gangster epic from New York’s own hero, Martin Scorsese. The Irishman is less literal about its meta moodiness than Pain & Glory is, but it still speaks disarmingly quiet volumes about what the autumn of life might mean for its creator.
-Richard Lawson, Vanity Fair
For much of its duration, The Irishman covers familiar ground but is slickly entertaining, if a little repetitive in the third hour. There’s an almost meta-maturity, as if Scorsese is also looking back on his own career, the film leaving us with a haunting reminder not to glamorise violent men and the wreckage they leave behind.
-Peter Bradshaw, The Guardian: 4/5
Ultimately, “The Irishman” is a major success for Scorsese—not only does it incorporate the best aspects of his past crime dramas and their thrilling energy, but it adds context to those films and wrestles with their legacy resonantly. In a way, “The Irishman” fills in the gaps between “Goodfellas” and “Casino” to tell the overall story of the mob’s rise and fall in postwar America, but it does so while anchored to one man’s story and morality. The law never catches up to Sheeran—not for the real damning stuff anyway— but as Scorsese demonstrates with profound solemnity, he cannot outrun his conscience.
-Joe Blessing, The Playlist: A
Nothing this misshapen ever flies—Scorsese once managed to make a movie called The Aviator that was similarly overburdened—yet his all-over-the-place enthusiasm plays nicely against the material’s death stench. Tidy as it may be to expect, Scorsese doesn’t need to cap his career with a sign-off to the gangster epic; that would be way too sentimental for him. What The Irishman does become, in its final hour, is something better, a film about broken trust, to family and God. De Niro’s Sheeran, like the monks of Scorsese’s magnificent Silence, wrecked by spiritual compromise, can't express his pain. This may not be why the average fan comes to a Marty movie, but it’s the statement this director, now 76, feels like making. After so much brilliance, Scorsese is being too hard on himself (maybe this review is too), but when The Irishman is about doubt, it’s as personal as it gets.
-Joshua Rothkopf, Time Out: 4/5
People will want to see The Irishman because of De Niro, Pesci, and Pacino all in a mob movie again, directed by Martin Scorsese. And, boy, yes, that’s there. In the scenes where they are younger, the de-aging is … pretty good. I’d say the best I’ve seen so far. But it’s one of those things that if you stare at it, yes, you can see the imperfections – especially when De Niro or Pesci are acting alongside, say, a non-de-aged Ray Romano. But you do get used to it. And the way I look at this is, well, this is the small price to pay to get all these actors together again to tell this story. To star in Martin Scorsese’s phenomenal film about the price we all pay for our sins of youth … even if you or I didn’t kill Jimmy Hoffa. The Irishman is terrific and Netflix got their money’s worth.
-Mike Ryan, Uproxx
As much as they take special care to tell the audience that their characters are rotten to the core, Goodfellas and Casino and another spiritual relative, The Wolf Of Wall Street, have been misunderstood as glorifications; it’s an inevitable consequence, perhaps, of following ugly men with occasionally glamorous lives. Scorsese takes no such chances with The Irishman, a crime epic that pushes further forward in time than most, to a truly ignoble end. Eventually, it reminds us, we’re all just fitting ourselves for coffins.
-A. A. Dowd, Uproxx: A-
The film – at three hours and 19 minutes – never flags. The Irishman may not be as groundbreaking as Mean Streets or Taxi Driver, but then again, what is?
-Caryn James, BBC: 4/5
Scorsese is so adept at storytelling, and his cast is so unbelievable, that the film, which clocks in at 209 minutes — even longer than The Return of the King and Avengers: Endgame — barely feels its length. The Irishman feels more like being caught in a dream or reminiscence, with all the tenderness we’re willing to afford in those in-between hours. Only Scorsese and his assembled cast, not to mention longtime editor Thelma Schoonmaker, could bring that all into reality.
-Karen Han, Polygon
Some may balk at the 209-minute runtime, but there’s never a moment where this story drags. Indeed, the three-plus hours practically fly by, because we’re so swept up in this decades-long journey. There’s not a single second wasted here, because one gets the sense that all the characters are hanging on for dear life – literally. As the years tick on, and their bodies fail them, The Irishman‘s main players find themselves closer and closer to oblivion.
-Chris Evangelista, /FILM: 10/10
Five decades is a lot of history to hold together, and it could have easily crumbled. Remember “Gotti”? But Scorsese is at the top of his game here. His film is never boring, and it explores some unexpectedly deep themes for mafiosos.
-Johnny Oleksinski, New York Post: 4/4
With The Irishman, director Martin Scorsese proves to be in an alluringly funereal mood.
-Keith Uhlich, Slant: 3.5/4
There is no arguing that The Irishman is a masterpiece. It is Scorsese revisiting themes seen in his past work with new elements of excitement, despair, and wit. The great performances and incredible filmmaking make this fictionalized tale of Frank Sheeran a story to end the decade, one that has seen many changes within the film industry — and hopefully introducing a new era of Martin Scorsese.
-Shea Vassar, Filmera: 5/5
For the first two and a half hours of its three-and-a-half-hour runtime, The Irishman is clever and entertaining, to the point where you may think that’s all it’s going to be. But its last half-hour is deeply moving in a way that creeps up on you, and it’s then that you see what Scorsese was working toward all along.
-Stephanie Zacharek, TIME
A monument is a complicated thing. This one is big and solid — and also surprisingly, surpassingly delicate.
-A. O. Scott, The New York Times
Scorsese is probably the last big-budget filmmaker who mostly declines to tell the audience what to think, much less boldface and underline why he’s telling us a story about self-serving criminals and whether he personally condemns them. “The Irishman” doesn’t break with that tradition. The opportunity to sit with the movie later is the main reason to see it. For all its borderline-vaudevillian verbal humor and occasional eruptions of ultraviolence (often done in a single take, and shot from far away) it feels like as much of a collection of thought prompts and images of contemplation as Scorsese’s somber religious epics “The Last Temptation of Christ,” “Kundun” and “Silence.” God is as tight-lipped as Frank.
-Matt Zoller Seitz, RogerEbert.com: 3.5/4
DIRECTOR
Martin Scorsese
WRITER
Steven Zaillian
CINEMATOGRAPHY
Rodrigo Prieto
EDITOR
Thelma Schoonmaker
Release date:
November 1, 2019 (limited theatrical release)
November 27, 2019 (Netflix)
Budget:
$159,000,000
STARRING
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Goodfellas turns 30 this year! Here are 40 interesting pieces of fact and trivia about the classic mob movie

You can check out a video version of this here: https://www.youtube.com/watch?v=_OQkxioCNrw&t=3s
1 The first scene shot in the film was Morrie’s wig commercial, directed by Stephen R Pacca, who owned a window replacement company and directed and ran a similar ad in New York City that Scorsese was inspired by
2 When Jimmy is handing out money to everyone, Robert De Niro, ever the perfectionist, didn’t like how the fake money felt in is hands. He wanted real cash to be used, so the props master gave De Niro $5000 of his own money. No one was permitted to leave the set at the end of each take until the money was returned to the props man and counted.
3 Sticking with De Niro being a sticker for authenticity, according to the real-life Henry Hill, the protagonist of the movie, De Niro would phone him 7 or 8 times a day, wanting to discuss minute details of his character, even ow he would hold his cigarettes.
4 The classic Funny how scene is based on an occurrence which actually happened to Joe Pesci. When he was working in a restaurant years ago, he complimented a gangster by telling him he was funny, but the remark was met with a less than impressed response. Pesci told this to Scorsese, who implemented it into the film, and the scene was directed by Pesci himself and not included in the shooting script of the film, meaning his and Ray Liotta’s interactions would elicit genuine reactions from the supporting cast.
5 Henry Hill said that Joe Pesci’s portrayal of Tommy was 90 to 99% accurate. The only exception was that the real Tommy was a much larger and powerfully built man.
6 Veteran actor Al Pacino, who director Martin Scorsese wanted to work with for years and who he would later work with in The Irishman, was offered the role of Jimmy Conway. Pacino turned it down, for fear of being typecast as a gangster actor. He would go on to regret this decision.
7 Much has been made about real life mob involvement in the making of Goodfellas, from Robert De Niro attempting to contact the real-life Jimmy Burk, to Scorsese hiring background actors with real life mafia connections, such as Tony Sirico, who would later find fame playing Paulie Walnuts in The Sopranos. According to Nicholas Pileggi, author of the book Wiseuy upon which Goodfellas is based, there were several mobsters hired as extras in order to add authenticity to the film. They provided the studio with fake social security numbers, and as such it is unknown how they were paid.
8 Ray Liotta’s mother died whilst the movie was being filmed, and Liotta used his emotions over his mother’s death in his performance, most notably in the scene where he pistol whips another man.
9 When Joe Pesci’s mother saw the film, his real life mother, she liked it, but questioned her son if he had to swear so much. 5 years later in Casino Catherine Scorsese, who played Pesci’s mother in Goodfellas, complains to her son in Casino about swearing too much.
10 The painting of the two dogs and the man in the boat that Pesci’s mother in the film paints was actually painted by Nicholas Pileggi
11 The Lufthansa heist, which plays a major part of the movie, did not have its case solved and closed until 2014, and most of the surviving participants were arrested.
12 When Henry Kill is introducing mobsters to us in the bar, one of them is a character named Fat Andy. This character is played by Louis Eppolito, Eppolito was at the time a former NYPD detective whose father, uncle and cousin were in the mob. 15 years after the release of Goodfellas, Eppolito, along with his police partner, were arrested and charged with racketeering, obstruction of justice, extorsion, and up to 8 murders. They were both given life sentences, with an added 80 years each.
13 The F word and its derivatives are used 321 times in the film, at an average of 2.04 per minute, and almost half of them are said by Joe Pesci. At the time it was made, Goodfellas held the record for the most amount of profanity in a single film.
14 The scene where the three main characters eat with Tommy’s mother was almost completely improvised by the cast, including Tommy asking his mother if he could borrow a butcher’s knife and Jimmy’s remark about the animal’s hoof. Scorsese did not tell his mother tat Pesci’s character had just violently beaten a man, only that he was home for dinner and that she was to cook for them.
15 The real life Jimmy, along with Paulie whose death is mentioned in the film, also died in prison in 1996. He would have been eligible for parole in 2004.
16 Paul Sorvino wanted to drop out of the role as Paulie just three days before filming was schedule to start, as he felt he lack the cold personality to play the role correctly. After phoning his agent and asking him to release in from the film, his agent told him to think it over for a while. Later that night, Sorvino was practicing in the mirror and made a face that even frightened himself, and he was convinced that he would be able to play the role.
17 According to film legend, the real life Jimmy Burke was so trilled that Robert De Niro was playing him in the movie, that he phoned up De Niro from prison and gave him advice. This is something denied by Nicolas Pileggi
18 Even though Joe Pesci was in his fourties during the filming of Goodfellas, the real life inspiration for his character was in his 20 when the events of the film took place. Scorsese was initially concerned with Pesci being too old to play the role of Tommy, and Pesci sent him a video of him walking
19 Nicolas Pileggi spoke to Henry Hill throughout the script writing process, and he says much of the voice over narration in the film are almost exact quotes from Liotta himself
20 According to Debi Mazar, Henry Hill’s girlfriend in the film, when she trips after meeting Henry she actually tripped over the camera’s dolly track. Scorsese kept it in the film because it looked like her character was overwhelmed by Henry.
21 One of the daughters of Ray Liotta and Lorraine Bracco’s characters, the one too shy to give Paulie a kiss when he visits their home, is actually the daughter of Harvey Keitel, with whom Braco had the child.
22 In order to better get into character, when driving to and from the set Ray Liotta would often listen to tapes of interviews Pileggi had with the real Henry Hill. Liotta noted that Hill spoke casually of murders and other serious crimes whilst eating potato chips.
23 After seeing the film, Henry Hill thanked Liotta for not making him look like an asshole. Ray Liotta response was to think to himself “did you even watch the movie?”
24 The famous long take of the Copacabana took just 7 to 8 takes to get right
25 Henry Hill’s life after he went into the witness protection program was adapted into a movie released the same year as Goodfellas – called My Blue Heaven. Nicholas Pilei’s wife wrote the script for the film.
26 According to Scorsese, legendary actor Marlon Brando attempted to persuade him to not make the movie.
27 The real life Henry Hill was paid around half a million dollars for the movie.
28 Robert De Niro was offered the roles of both Jimmy and Tommy. He chose the former.
29 Despite it’s status as a classic, Goodfellas only won one Oscar. And its winner, Joe Pesci, was so surprised, that his winning speech was one of the shortest in Oscar history, simply saying, “it’s my privilege, thank you”
30 Frank Vincent, the man who plays Billy Batts and is beaten and stabbed to death by Joe Pesci, and who also starred with Pesci in two other Scorsese films – Ragin Bull and Casino - actually has a long history with Pesci. The two used to be bandmates and a comedy duo in the late 60s. They also starred in the low budget 1976 mafia film The Death Colelctor, where they were spotted by Robert De Niro and Martin Scorsese, and eventually hired for their roles in Raging Bull.
31 The producer’s original choices for the roles of Henry and Karen were Tom Cruise and Madonna.
32 Paul Sorvini improvised the slap that his character gives Henry in the scene where Paulie confronts Henry about drug dealing
33 In the original shooting script of the film, the Billy Batts shinebox scene was the very first scene in the film, followed by the dinner at Tommy’s mother’s house. Then Liotta would say the phrase “As far back as I can remember I always wanted to be a gangster” and the movie would show his youth and growing up.
34 Early screenings of Goodfellas were met with poor reception. According to Pileggi, one screening had around 70 people walk out, and in another the film’s team had to hide at a local bowling alley as a result of an audience angry at the film’s level of violence.
35 In spite of the film’s violent reputation, there are only 5 on screen deaths
36 When Spider is shot by Tommy, Michael Imperioli broke a glass in his hand and had to be rushed to hospital. But when he got there, the doctors attempted to treat his apparent gunshot wound. When the actor revealed what his real injury was, he was made to wait for 3 hours in the emergency room. Scorsese told Imperioli that he would tell this story one day on the tonight show with Jay Leno, a prediction which cam true in 2000.
37 US attorney Edward McDonald, the fed who explains the ins and outs of the witness protection programme to Henry Hill and his wife, is actually playing himself in this scene, re-enacting the conversation he had with the real Henry Hill. McDonald volunteered to play the role and won a screen test when Scorsese was location scouting his office as a possible filming location.
38 The movie ends with Henry in the witness protection program, but after the film’s release, as a result of violating his terms and conditions, including going around and telling people who he was, Henry Hill was thrown out of the programme.
39 Henry requests that he isn’t sent anywhere cold when g egos into the programme. In the ending of the film, he picks up a newspaper for Youngstown in Ohio, a place which has below freezing temperaturs in winter, suggesting that Henry’s wish was not granted.
40 The film’s ending, where Joe Pesci fires several bullets staring at the camera, is a homage to the landmark 1903 short film The Great Train Robbery, widely considered one of the first narrative pictures. Scorsese saw his movie as part of a tradition of outlaws in American pop culture and noted that, in spite of the fact tat the two films are separated by almost a century, according to the man himself, “they’re essentially the same story.”
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My back pain is GONE.

I used to have horrible back pain. It developed right around the time I had my children. It felt like being jabbed with a crochet hook in the middle of my lower back and it was debilitating - I couldn't do any physical activity without having to sit down to take the pressure off of my aching back. I've been fat all my life and this certainly didn't help, so my weight went up. And I'm 42 and I have young children and a very active husband. I was trying to push myself to keep up with them, but it was agonizing. I juggled over-the-counter painkillers, but they were temporary at best, and I absolutely didn't want to try anything stronger until I'd exhausted all other options.
I happened to read somewhere that sugar can have an inflammatory effect on the body that can result in joint pain. I am/was a sugerholic, but I was also getting desperate. I started charting my intake with MyFitnessPal to be more conscientious about what I eat, and as an experiment, I went two days without sugar. Not totally carb free, but I made sure my fat and protein intake was a higher percentage of my overall caloric intake, and my overall carbohydrate intake was lower and that carbs were an incidental intake (from veggies or the very occasional piece of fruit) rather than a primary source. I also added MCT oil to my morning coffee, which helped fight hunger and sugar cravings. To fight off keto flu symptoms, I did beef or chicken broth for breakfast, adding some vegetable broth to round out the flavor.
...and my back pain completely disappeared. The next week was a series of experiments in doing various activities without my regular pain medication. And it's gone. There's no more back pain. It's not just lowered to a manageable level. It's not gone for a couple of hours a day, I mean it's completely GONE. It feels like my back from twenty years ago.
It's been a month. I've kept my caloric intake to 2000 kcal/day or less, and I avoid all simple sugars. I've lost 25 lbs (weight loss is not the focus, but it's certainly welcome), and I'm back to exercising. I'm so excited. I feel like I have my life back!
If you've seen the movie Casino, you remember the corn field scene, where one character sneaks up behind Joe Pesci's character and starts hitting him with a baseball bat? That's what I picture when I want that cookie or that brownie. Because I'm not going back to that pain again.
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[TOMT][TV or Movie]Pretty sure the genre is crime (i.e., gangster... probably Italian American/mafia). A character says, "what? You think [Don] Rickles is the only one who can make jokes?" More details in main post.

Hi,
This has been driving me crazy for the last week. I'm thinking of a scene from a tv show or a movie. I feel strongly that it's from the crime genre. A character (and I really, really, really suspect it's one played by Bobby Cannavale) rhetorically asks, "what? You think Rickles is the only one who can make jokes?"
but then I'm thinking - in what movie did Bobby Cannavale ever play a character in the same time period as Don Rickles? Now, the Irishman comes to mind immediately since there was definitely someone playing a younger Don Rickles. But then again, Bobby didn't have that many lines in The Irishman (he played such a minor character; the scene I have in mind gives me the impression that it was uttered by a major character).
Is it possible I'm mixing up Bobby Cannavale with Joe Pesci in other crime fiction? Could it be... Casino? But that's unlikely, too, because Don Rickles himself plays a character in Casino (i.e., Robert Deniro's lackey).
It's driving me crazy. Where am I remembering this line from? I feel like the delivery is reminscent of Bobby Cannavale's character from HBO's Boardwalk Empire (i.e., Gyp Rosetti) but there was DEFINITELY no Don Rickles in the 1920s!
Argh!
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Joel & Casino?

Does anyone else think that the scene with Abbey and the 9 iron is very reminiscent of scene in Casino were Joe Pesci character and his brother get beaten with the baseball bats? All it needed was for Tommy to get it first while Joel is held back and Abbey tells her crew to "ship him" before introducing said 9 iron to Joel's head! 😉⛳
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LeaClp42 #42: Casino (1995)

DS: 3/16/20
DW: 1/6/20
Technically the film seems excellent to me. At first the initial scene made me suspicious because I do not see the sense of showing the protagonist to die at the beginning of the film (without mentioning the obvious cut where De Niro is clearly seen to be a mannequin) but he is able to give it an interesting twist, Although it does not mean that the scene is to attract the attention of the viewer. The photography is magnificent and the way it portrays the casinos, the vice, the machines full of lights and everything that the city of Las Vegas implies with the lighting and the visual narration is fascinating. From a certain point of view I consider that in Scorsese's filmography this is the intermediate film between Goodfellas and The Irishman. During the first act I feared that it is too similar to Goodfellas with the story of how the protagonist ascends through the criminal world but as he advances in the plot I began to see new elements and others that Scorsese would later expand in The Irishman. Scorsese shows the mafia big shots and how some fall into old age and crumble in The Irishman but also does it more subtly in Casino. At the same time, the idea of ​​how a man drops his empire for the idea of ​​trusting and loving a woman from whom clearly nothing good can come out seems very interesting to me. Of the performances I cannot say anything that has not already been said about the skill of Joe Pesci and Robert De Niro. In short, I found the film fascinating and directed and narrated with classic Scorsese mastery.
5.0 / 5.0
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Saw The Irishman on Tuesday, no major spoilers!

I'd give it an 8.5/10.
It's long. The 8:15pm on a Tuesday premier probably didn't help that for me, but anyone saying it "flies by" is a little crazy.
Pacino and De Niro are fantastic together. For those of you hoping for a one-on-one between the two reminiscent of Heat's coffee shop scene, you get your wish. It's a fantastic scene. One for the ages.
But the performance that really stood out to me is Pesci. His first role in 9 years, and probably the most mature of his career. Completely unlike the jumpy guy in Goodfellas and Casino (although that was fantastic too!), this was a different Pesci. His role in the final third, and especially that last 20 minutes, was superb. There needs to be more supporting actor talk for him.
The film's main flaw to me is the length. The scenes involving "Crazy Joe" Gallo aren't needed.
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Question about the different cliques and ethnic or religious groups, so to speak, in The Irishman

It was hard to follow who was who. You had Catholic Italian mob, Jewish mob, you had Catholic Italian mob that was pro-Kennedy until the Bay of Pigs, then I guess they turned on him but why, did President Johnson help them get their casinos back from Cuba either? No, that I know of. At least JFK could have tried again a couple years later, no? Many Americans died, Castro was taunting America, he could have used that as an excuse to go after Cuba again. "We cannot let this stand!" etc. I'm not advocating that JFK should have invaded Cuba in the first place let alone a second time, I am anti-war, I'm just saying from the perspective of the mobsters who had casinos in Havana, I don't get it.
Basically who did Hoffa represent, ethnically, religiously? I know he represented the Teamsters Union but beyond that I was lost. What was the prison fight with Hoffa and the other guy, where Hoffa called him "you people." What "people" was he referring to, and what "people" was Hoffa himself?
Robert De Niro's character and Joe Pesci's character, were they both supposed to be Jewish? But then at the end they were going to Christian services/priests? That was confusing.
Were the Jewish "washerwomen" that turned out to be the Jewish mob, were any of them featured in the movie as characters? Or just an entity off screen that was working with the italians through Harvey Keitel's character?
If they knew it meant all of them going to jail why did they kill Hoffa? I thought they were killing him not just because they couldn't get along, but to avoid prison? But then right after, in the film, they all went to prison.
The Robert De Niro killing Hoffa scene was confusing because of how Pesci phrased what he told him. He told him "I had to bring you into this" or something otherwise I knew you wouldn't let it happen, but it's going to happen. It was unclear if he meant tell you about this and keep you away, put you on an airplane in the air so you can't get mobile on the ground and stop the killing, or if he meant De Niro had to be the one to kill Hoffa. It wasn't clear if the airplane was meant to go to where Hoffa was (Detroit I think) and kill him, or if De Niro got on the plane, waited for Pesci to drive away, then forced the pilot to turn around and land back where they were, then got in a car and drove to where Hoffa was in an effort to stop the killing. But then when Hoffa kept looking for reasons to insult every mobster he came into contact with, De Niro realized Hoffa was beyond saving because even if he saved him that day, he would just continue to act antagonistically to everyone and get killed later on anyway. So then to hide his tracks did De Niro tell the driver the wrong house, some empty house (how'd he know it was unlocked), so he could kill Hoffa and make it look like he was never there, or something, like he was never planning on going against Pesci's wishes? And somehow got the two drivers not to tell anyone?
Or was it as simple as Pesci put him on a plane to go kill Hoffa, and that's what he did, and that was the house picked out by Pesci?
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15 Most Memorable Quotes From Goodfellas | ScreenRant

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Most people would say that the greatest gangster movie ever made is The Godfather, but a strong argument could be made instead for Martin Scorsese’s Goodfellas. It is certainly the more entertaining of the two, with its impeccable soundtrack, fast cuts, sense of humor, voiceover narration, and all-over-the-place narrative structure.
RELATED: Goodfellas: 10 Most Iconic Moments, Ranked
Also, it’s based on a true story. The life of Henry Hill actually happened. The Corleone family is entirely fictional. Goodfellas_’ adaptation of true events adds a whole new layer to both the comedy and tragedy of the story. With that in mind, here are the 10 Most Memorable Quotes From _Goodfellas.

Updated on May 28th, 2020 by Ben Sherlock:_Even with the critical acclaim met by The Irishman, Martin Scorsese’s Goodfellas remains one of his most popular films. A number of critics compared The Irishman to Goodfellas, but called it a more mature film. It has a slower pace, a more nihilistic tone, and a heavier focus on the immense guilt rattling around the heads of mobsters. With its rapid pacing, pitch-black humor, and Jules and Jim-inspired all-over-the-place editing, Goodfellas is endlessly rewatchable, so we’ve updated this list with a few more entries._15 I Like Going This Way…

“I like going this way. It’s better than waiting in line.”
The long tracking shot through the Copacabana found in _Goodfellas_ is one of the most iconic shots in the history of cinema. Henry skips the line, takes Karen into the club through the kitchen, and has a table brought out for them right in front of the stage. It’s easy to see why Karen was seduced by Henry’s lavish lifestyle.

14 You Wasted Eight F****** Aprons On This Guy

When a man with a gunshot wound collapses on the doorstep of Tuddy’s restaurant, Henry springs into action and starts plugging up the wound with aprons until the man makes it safely into the back of an ambulance.

For all intents and purposes, this makes him a hero. But Tuddy doesn’t see it that way; he just sees all the missing aprons. He says, _“You’re a real jerk. You wasted eight f*ckin’ aprons on this guy. I don’t know what the hell’s wrong with you. I gotta toughen this kid up.”_13 To Me, It Meant Being Somebody In A Neighborhood Full Of Nobodies

What makes Goodfellasarguably the best mob movie ever made is that it doesn’t just depict hitmen killing people for mafiosos and gangsters stealing cigarettes out of trucks. It also shows the seductive nature of the mafia lifestyle.
We understand exactly why Henry Hill wanted to be a gangster, and why that lifestyle seemed so appealing. When he was growing up, being a gangster seemed like “_being somebody in a neighborhood full of nobodies._”

12 F*** You, Pay Me

In voiceover, Henry explains what it’s like to have Paulie as a business partner: _“Any problems, he goes to Paulie. Trouble with a bill, he can go to Paulie. Trouble with the cops, deliveries, Tommy, he can call Paulie. But now, the guy’s gotta come up with Paulie’s money every week, no matter what. Business bad? Fck you, pay me. Oh, you had a fire? Fck you, pay me. Place got hit by lightning, huh? Fck you, pay me.”_11 You’d Be Late For Your Own F***** Funeral

Long before Pulp Fiction_would make him an icon, Samuel L. Jackson played a small role as Stacks Edwards in _Goodfellas. Instead of ditching the truck that they used in the Lufthansa heist like he was supposed to, Stacks got stoned.
So, Tommy goes over to his apartment and tells him to get dressed. But while he’s getting dressed, Tommy says, “_You’d be late for your own f*ckin’ funeral,_” and shoots him in the back of the head.

10 They even shot Tommy in the face…

They even shot Tommy in the face, so his mother couldn’t give him an open coffin at the funeral.

Perhaps the most awful moment in the whole of Goodfellas_is when Tommy heads to what he thinks is the ceremony in which he’ll be made and gets killed. As Henry explains the whole thing, we get a haunting look and how strictly the mafia stick to their rules: _“It was revenge for Billy Batts, _and a lot of other things. And there was nothing that we could do about it. Batts was a made man, and Tommy wasn’t. And we had to sit still and take it. It was among the Italians. It was real greaseball s**t. They even shot Tommy in the face, so his mother couldn’t give him an open coffin at the funeral.”_9 I got to admit the truth…

I got to admit the truth. It turned me on.

One of the smartest moves Martin Scorsese made with the writing and directing of _Goodfellas_was following Karen’s storyline as well as Henry’s. Not only does the movie explore the mentality of someone who ends up being a career criminal; it explores the mentality of someone who gets romantically involved with one. And Lorraine Bracco plays the character with so much gravitas and humanity. Our first glimpse into her psyche is a fascinating one: _“I know there are women, like my best friends, who would have gotten out of there the minute their boyfriend gave them a gun to hide. But I didn’t. I got to admit the truth. It turned me on.”_8 I’m an average nobody…

I’m an average nobody. I get to live the rest of my life like a schnook.
At the end of Goodfellas, it might seem as though Henry gets off easy by selling out all his friends to the FBI and going into the Witness Protection Program. But as his final voiceover monologue points out, he’s left completely unfulfilled. He had everything he ever wanted and then lost it. Now, he has to live a mundane life in the suburbs like everybody else. Henry might have avoided jail by ratting out all of his friends – something he was told since his childhood never to do – but he feels just as trapped in his new life as if he had gone to jail.

7 I’m gonna go get the papers…

I’m gonna go get the papers, get the papers.

A commonality among the best crime stories is that they explore how criminals get their nicknames, and it’s usually something pretty trivial. For example, in the very first scene of the very first episode of The Wire, Jimmy McNulty launches into a monologue about how a kid was given a beautiful name by his mother and then one day, just because he forgot to grab a sweater on his way out and he ended up with a runny nose, he ended up with the lifelong nickname Snot. This was pioneered in Goodfellas, in which Henry Hill says, _“There was Jimmy Two Times, who got that nickname because he said everything twice.”_6 Hey, Tommy, if I was gonna break your balls…

Hey, Tommy, if I was gonna break your balls, I’d tell you to go home and get your shine box.
Joe Pesci’s character Tommy DeVito has a contentious relationship with pretty much everybody, but none more than Billy Batts. Billy knows that Tommy is a hothead and he likes to push his buttons. Tommy asks him politely, _“Just don’t go bustin’ my balls, Billy, okay?”_RELATED: Goodfellas: Every Major Performance, Ranked
And then Billy says, _“Hey, Tommy, if I was gonna break your balls, I’d tell you to go home and get your shine box. Now, this kid, this kid was great. They used to call him Spitshine Tommy. I swear to God! Now, he’d make your shoes look like f**kin’ mirrors. ‘Scuse my language.”_It’s a tense scene, since we’re just waiting for Tommy to erupt – and he does.

5 If we wanted something, we just took it

Part of what makes _Goodfellas_the quintessential mob movie is its exploration of the mob lifestyle and what leads people into organized crime in the first place. As Henry Hill explains in voiceover: _“For us to live any other way was nuts. Uh, to us, those goody-good people who worked sh**ty jobs for bum paychecks and took the subway to work every day and worried about their bills were dead. I mean, they were suckers. They had no balls. If we wanted something, we just took it. If anyone complained twice, they got hit so bad, believe me, they never complained again.”_4 Oh, I like this one…

Oh, I like this one. One dog goes one way, the other dog goes the other way.

One of Martin Scorsese’s directorial trademarks is putting his mother, Catherine Scorsese, in his movies. But she usually has a cameo role. Her biggest role is in Goodfellas, when she plays Tommy Devito’s mother. Tommy, Jimmy, and Henry go to visit her and have a bite to eat. It’s a long scene, at least in relation to this fast-paced movie, and the tension comes from the fact that there’s a guy bleeding out in the trunk of their car. The whole time, he’s in the back of our minds, while Tommy nonchalantly analyzes his mother’s new painting: _“Oh, I like this one. One dog goes one way, the other dog goes the other way, and this guy’s sayin’, ‘Whadda ya want from me?’”_3 Never rat on your friends…

Never rat on your friends and always keep your mouth shut.
Martin Scorsese wasn’t able to secure the funding for _Goodfellas_until Robert De Niro agreed to play the mobster Jimmy Conway in the film. He’s not the star of the movie, but he is an important figure in Henry Hill’s life. As a kid, Henry is arrested and doesn’t tell the cops anything, which makes the other mobsters proud.
RELATED: “As Far Back As I Can Remember…” 10 Behind-The-Scenes Facts About Goodfellas
Jimmy says, _“I’m not mad, I’m proud of you. You took your first pinch like a man and you learn two great things in your life. Look at me. Never rat on your friends and always keep your mouth shut.”_On repeat viewings, this scene acts as harrowing foreshadowing for the big finale.

2 What do you mean I’m funny?

Joe Pesci could’ve won his Academy Award for Best Supporting Actor on the basis of this scene alone. It’s one of the first scenes in the movie and establishes his dangerously unstable jokester character early one. Henry says, “You’re really funny!”_and his smile drops. “_What do you mean I’m funny?… _You mean the way I talk?”_Henry says, _“It’s just, you know, you’re just funny. It’s funny, the way you tell the story and everything.”_Pesci’s character Tommy DeVito says, _“Funny how? I mean, what’s funny about it?”_Eventually, it devolves and he’s shouting: _“I mean, funny like I’m a clown? I amuse you? I make you laugh, I’m here to f**kin’ amuse you?”_And then it turns out he was messing with him the whole time.

1 As far back as I can remember, I always wanted to be a gangster

This line from near the beginning of the movie is not just the best quote in Goodfellas; it might just be the single greatest quote in film history. Not only is it memorable and an exciting way to start the movie; its placement in the story speaks volumes. We’ve just seen these three guys sitting in silence, driving through the countryside, and then they open the trunk of the car to reveal a bloodied man. They stab him, shoot him, and bury him. Then Scorsese closes on Ray Liotta and, in voiceover as Tony Bennett’s “Rags to Riches” comes on the soundtrack, he says, “As far back as I can remember, I always wanted to be a gangster.” You really wanted this life? It opens the discussion of the mobster lifestyle that the whole film explores.
NEXT: 5 Reasons Martin Scorsese’s Casino Is Underrated (And 5 Why It’s Just A Goodfellas Rip-off)
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The Irishman review (no spoilers)

So in a world were streaming services is about to have as much legitimacy as the movie studios, Martin Scorsese, the goat of directors , has decided to take the plunge and make probably his last mob movie with the all stars of mob films, De niro, Pesci and Pacino. With De Niro, Pesci and Marty not having done a movie together since Casino. The first time De Niro and Pacino have worked together since heat. Because Righteous Kill never happened and Heat is one of my favorite films. This is probably the most ambitious movie Netflix has done. A 3.5 hour epic with a 175 million dollar budget and the results are awesome. First off, we get into the acting. De Niro has been on a roll with Wizard of Lies, Joker, and now this. You can just tell whenever he and Marty team up, he's at his best and this is no different. Next we got Joe Pesci and Pesci came out of a 20 year retirement to do this film and it feels like he never left. No acting rust on Pesci right here. It's a different type of role from Pesci because this doesn't have him screaming and breaking out the baseball bat and wacking someone. This is a very quiet and nuanced role for him and he nails it. But the best part of the movie for me, is Pacino as Jimmy Hoffa. Dude stole the show for me. Anytime he came on screen I was laughing pretty hard. It's crazy to me, that it took this long for Pacino to be in a Scorsese film.

You've all heard that the films biggest selling point which that they deaged the actors. It was why the budget ballooned to 175 mil. I'd say about 95% of the time it works. On Pacino and Pesci, it looked amazing. Pacino especially looked like his Scent of a Woman days and Pesci looked like he stepped off the set of Home Alone. On De Niro, it does look good, he does look like hid Goodfellas self. There is his first scene all deaged, that he looked like a video game character. And there's a scene when he's curb stomping a dude and the way he moved, he moved like an old man. I was sitting there going "wow. you couldn't afford a body double huh Marty?"

And yes, The Irishman is 3 and a half hours long. I felt like 3 hours flew by well, but the last half hour to me, while I understood why they wrapped the story up in that style, I do think they could've cut it down a bit. Had a bit of a Return of the King ending type of style.

Guys The Irishman is a great film with 4 people coming togther for what's probably their last time on screen making a gangster movie. The biggest compliment I can say is to not expect a mob movie in the vein of Goodfellas and Casino. This is a straight up drama. If you can let that go, I promise you'll probably be satisfied. I do wish they had a bluray release so I can put it next to my bluray copies of Casino and Goodfellas. That feeling of completing an unofficial trilogy. This is easily one of my favorite films of the year.
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