This coming Monday night, on the 7th of June, Astor Theatre is celebrating Martin Scorsese’s brilliant mafia-drama ‘GoodFellas’ (1990). Still, after 20 years, the film stands strong as a beautiful study of Italian-American criminal dynasties and how they rise and fall over time. The film, however, is also an ode to its filmic forefathers, such as Francis Ford Coppola’s ‘The Godfather’ series and Scorsese’s other criminal narratives that focus on men in crisis – both Italian and non-Italian – namely ‘Mean Streets’ (1973), ‘Taxi Driver’ (1976), ‘Raging Bull’ (1980) and ‘The King of Comedy’ (1983). Scorsese’s feature, however, is not just about blood, violence and the Italian mob. His narrative is rich in detail and depth, poetically woven together by themes of alienation, cultural identity, redemption, masculinity and group mentality, all of which takes place in the midst of cool, brooding cinematography. Astor Theatre is, most definitely, celebrating a film that deserves all the applause and praise that has come – and continues to head – its way.
Scorsese’s cast stands strong as one of the best of any kind in any film genre in the last 20 years. Ray Liotta is still excellent as Henry Hill; his criminal rise is hindered by his own mixed Italian-Irish heritage. Liotta conveys Hill’s alienation and impotency with great balance; a blend of sadness and intensity. Even though Hill cannot be ‘made’, due to his own lack of Italian purity, he is still as capable of criminality as any other paesano by his side. Liotta is memorable as Hill: a fish-out-of-water in a sea of Italian-Americans. Lorraine Bracco is also still awesome as Karen Hill: sassy, sexy and strong. Her character, however, is a stock standard one in the Italian-American mob narrative: the mob beauty with an ugly edge. Like those before her – such as the beaten Kay Adams-Corleone (Diane Keaton) in ‘The Godfather’ series – and those after her – such as the loose Ginger McKenna (Sharon Stone) in ‘Casino’ (1995) and the morally flexible Carmela Soprano (Edie Falco) in HBO’s award-winning series ‘The Sopranos’ – Bracco brilliantly mirrors the frustrations that come with marrying into a life of money, power and death. After two decades, we still pity Bracco’s character, but also express some scepticism towards it; she has chosen to enter a life of darkness, despite her suffering. Liotta and Bracco, however, are just two names in Scorsese’s list of brilliant performances. There is also Joe Pesci’s magnum opus: Tommy De Vito. In his Oscar-winning role, we simultaneously laugh with – and fear – Pesci’s character. Stocky, abrasive, comical, vicious and sociopathic are just some words that can be used to describe this mesmerising performance. After two decades, we can see in Scorsese’s film – and others – Pesci’s confidence in roles that blend humour with bitterness: Joey La Motta in ‘Raging Bull’ (1980), Harry Lime [an obvious reference to Orson Welles’ ‘The Third Man’ (1949)] in ‘Home Alone’ (1990) and Vincent LaGuardia Gambini in ‘My Cousin Vinny’ (1992) are just some examples. The rest of Scorsese’s suited, well-groomed ensemble is also fantastic. Brilliant performances from Paul Sorvino (as Paul Cicero) and Robert De Niro (as Jimmy Conway) are particularly good and contribute to the film’s strong, long-lasting status; they are brooding, calculating and brilliant. The film’s classical/ethnic score – in conjunction with Scorsese’s shady cinematography and gorgeous panning shots – further adds to this stylish tale about the rise and fall of Italian-American criminality.
Astor Theatre should be commended on its selection here. Its decision to celebrate such a film 20 years on makes perfect sense. Its rise and fall narrative, as well as its depiction of relationship disintegration, cultural friction, violence and the isolation they all bring makes Scorsese’s film still worth watching after two decades. Check it out!
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