The Ultimate Book of Gangster Movies: Featuring the 100 Greatest Gangster Films of All Time
Format: PDF / Kindle (mobi) / ePub
The Ultimate Book of Gangster Movies provides extensive reviews of the Top 100 gangster films of all time, including sidebars like “Reality Check,” “Hit and Miss,” “I Know That Guy,” “Body Count,” and other fun and informative features. Also included are over a dozen stand-alone chapters such as Sleeper “Hits,” “Fugazi” Flops, Guilty Pleasures, Lost Treasures, Q&A Interviews with top actors and directors (including Chazz Palinteri, Michael Madsen, Joe Mantagna, and more), plus over 50 compelling photographs.
Foreword by Joe Pistone, the FBI agent and mob infiltrator who wrote the bestselling book and acclaimed movie, Donnie Brasco.
and the back-and-forth between Walsh and the Duke sound so natural because the two actors were just winging it. Their laughter, at their situation and at one another, comes across as spontaneous and genuine. And it apparently was. Walsh is an ex-Chicago cop who becomes a bounty hunter because he finds the work more honorable. His back story, which comes out slowly and provides the Duke with lots of conversational fodder, is that Walsh had to leave the Chicago PD after he was set up by a local
(Bonnie and Clyde) in the documentary Public Enemies: The Golden Age of the Gangster Film. Talking about pioneers like Scarface director Howard Hawks and screenwriter Ben Hecht, Benton said, “Those great storytellers did it. They invented an art form. That’s an amazing thing to have done.” Not that it came easily. Scarface was the brainchild of aviation tycoon Howard Hughes (before he became a recluse). Hughes had previously produced only a few noncontroversial air show films. But with Scarface,
can be credited with helping create the tough-but-flawed-working-class-cop film character that flourished in the 1970s and remains prevalent to this day. And this movie can certainly be seen as the root of more-recent efforts like Prince of the City, Training Day and The Departed. Oh, and one more thing. We told you the movie is based on an actual case. It ends with the freeze-frame postscript scenes that tell you what happened to each of the major characters. But it doesn’t tell you this—a year
McCluskey (Sterling Hayden) outside the hospital where Michael’s father is recuperating. The Corleone sons know the Don’s enemies, while calling for reconciliation, will stop at nothing short of killing him. So a plan is concocted where Michael (“the nice college boy,” as Sonny calls him) will agree to a meeting with McCluskey and Virgil Sollozzo (Al Lettieri), and then assassinate them. They head to an Italian restaurant in the Bronx, where Corleone spies have planted a gun in the men’s room
peacefulness of Bruges, quietly reevaluates who he is and what he has done. He realizes that it’s too late for him to change, but maybe not too late for Ray. MISS: Americans. Canadians. To the Brits, we’re all the same. Too many cheap clichés. WHAT THEY WROTE AT THE TIME: “In Bruges, at its best, works like Pulp Fiction with Irish (and Belgian) accents, digressing into weird discourse and giving a bunch of actors the occasion to shine in small, peculiar roles.”—Steven Rea, Philadelphia Inquirer