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GOODFELLAS dir. Martin Scorsese
GANGSTER SQUAD: (Dir: Ruben Fleischer, 2013).
Don’t be fooled into thinking that this movie is the first film in the ‘La La Land’ franchise! In spite of featuring Ryan Gosling and Emma Stone in leading roles against a backdrop of Los Angeles, Gangster Squad is, as its title would imply, a pretty violent yet kinda glossy mob movie.
Josh Brolin heads up a fabulous cast including Gosling, Stone, Nick Nolte, Giovanni Ribisi and Michael Peña in a fictionalised account of the LAPD’s attempts to wrest control of the city from Mob boss Mickey Cohen, a heavily made-up Sean Penn seemingly channelling Al Pacino’s Big Boy Caprice from Dick Tracy (Warren Beatty, 1990). The cast cannot be faulted. Neither can cinematographer Dion Beebe who utilises every conceivable shade of brown in a stylish recreation of 1949 LA.
However, as terrific as the cast is and as lovely as it looks, Gangster Squad is perhaps not quite the movie it may have been. With its dark, noir-ish themes and its vintage Los Angeles setting it kind of gives the impression of wanting to be LA Confidential (Curtis Hanson, 1997). While it is undoubtedly a quality production, it just isn’t as good as that masterpiece.
I love a 1930s gangster movie almost as much as I love a 1940s crime thriller, so I guess Gangster Squad had a lot of built-in appeal for me and I did enjoy it. It’s just that I have seen this sort of thing done better. As noir homage LA Confidential can’t be beat. If it’s a lovingly recreated 1930s era gangster flick you want, check out Joel and Ethan Coen’s superior Miller’s Crossing (1990).
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BUGSY MALONE (Alan Parker, 1976).
Alan Parker’s feature film directorial debut is really something special. A musical homage to 1930’s gangster movies with a cast made up entirely of children really shouldn’t work, but it does.
Gang warfare rages in Prohibition-era New York as hoods Fat Sam and Dandy Dan battle for supremacy in the city. Armed with newfangled splurge guns (whipped cream firing machine guns), it looks like Danny Dan’s mob is winning. Speakeasy owner Sam engages good guy Bugsy Malone to help in his fight against Dan, while Bugsy has his sights set on aspiring showgirl Blousey Brown.
Recalling both the classic Warner gangster flicks and early backstage musicals, Bugsy Malone is itself a film which largely avoids categorisation. It is a love letter to the Hollywood of the 1930s. The beautifully detailed sets of dimly lit back alleys and colourful speakeasies faithfully recalling the era of Cagney and Robinson. Paul Williams superb jazz inspired score provides perfect accompaniment to the visuals, while the witty, quick fire dialogue would befit a period screwball comedy. The soft focus camera work and plethora of brown on display gives the feel of an old sepia tone photograph and adds to the era atmosphere.
An assured and charismatic performance from Scott Baio as Bugsy is surprisingly his first screen appearance. As was true of much of the cast. Florrie Dugger is touchingly melancholic as Bugsy’s gal Blousey in her only movie, while John Cassisi embodies gleeful roguishness as Fat Sam, one of only a handful of acting roles for the youngster. Only Jodie Foster, in the supporting role of showgirl cum moll Tallulah, was a veteran performer and gives the first rate professional performance you would expect. But to the credit of the cast and director Parker, none of the kids put a foot wrong and are never upstaged by the more experienced star.
There really is nothing else like Bugsy Malone in cinema history. As artful as it is entertaining and equally enjoyable for children and grownups; a unique, unadulterated pleasure from beginning to end!
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THE MOB (Dir: Robert Parrish, 1951).
A tough gangster movie-cum-film noir thriller. The Mob stars Broderick Crawford as Johnny Damico, a tough New York cop who poses as a longshoreman to bust up the corrupt union activity polluting the city's dockyards.
Based upon the novel Waterfront by Ferguson Findlay, The Mob covers similar ground to the more famous On the Waterfront (Elia Kazan, 1954). Pre-dating the latter movie by three years it is more of a pulpy crime drama that Kazan's socially conscience classic.
In his second outing as director, former editor Robert Parrish has crafted a hard hitting, at time brutal thriller which still packs a considerable punch seven decades later. It is a tough movie, with tough guys talking tough. William Bowers' screenplay is interspersed with some smart hard boiled dialogue, delivered in suitable pithy fashion by the excellent Broderick Crawford.
A year after his Oscar winning performance in All the King's Men (Robert Rossen, 1949) Crawford is dynamite here; perfectly cast as a hard nosed cop, ruthless in his mission to bring down the mob. Also impressing in an early role is Ernest Borgnine as thuggish mobster Johnny Castro. As his right hand man, Neville Brand is equally effective in one of many maniacal bad guy roles.
Often categerised as a film noir, The Mob feels closer to a gangster film than a true noir; its staccato pacing and overall theme evoking the Warner Brothers mob movies of 1930s. It presents an evocative, shadowy world of backstreets and dive bars populated with shady characters It is surprisingly violent at times, especially in its realistically scrappy fist fights.
It may not rank among the greatest thrillers of its era, but it is an exciting and engaging minor noir, or rather a gangster movie in noir clothing. Deserving of far more attention than it generally receives, The Mob is neat little crime flick with a cracking screenplay and a first rate cast. To my knowledge, the movies only official home video release is as part of Spain's Columbia Classics range. This may make The Mob a little difficult to source, but it is well worth the effort!
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