Nicky Santoro: Back- Back up, back up a fuckin' minute here. One minute. I asked you? When the fuck did I ever ask you if I could come out here? Get this through your head, you...
Ace Rothstein: You never...
Nicky Santoro: Get this through your head you Jew motherfucker, you. You only exist out here because of me. That's the only reason. Without me, you, personally, every fuckin' wise guy skell around'll take a piece of your fuckin' Jew ass. Then where you gonna go? You're fuckin' warned. Don't ever go over my fuckin' head again. You motherfucker, you.
"Running a casino is like robbing a bank with no cops around. For guys like me, Las Vegas washes away your sins. It's like a morality car wash."
"Casino" (1995), a visceral examination of the Mafia's influence on the casinos of Las Vegas in the 1970s, is also the so-called "companion piece" to Martin Scorsese's "GoodFellas" (1990). Both films star Robert De Niro and Joe Pesci, and were written by Nicholas Pileggi.
Some even go so far as to claim "Casino" is a semi-remake of "GoodFellas." And many critics found flaws regardless of its connections to the earlier mob film. "Go in interested and you may find your interest tested way past the limit," wrote Mick LaSalle in the San Francisco Chronicle. "'Casino' is not about people, just Vegas. It's an ambitious film -- but also a scattered, unfocused one."
Viewing the movie a decade after its release, it holds up well. The film's real strength lies in its narrative and unflinching examination of its characters. Sam Rothstein (played by Robert De Niro) isn't a nice guy, and never really gains our sympathy. Nicky (Pesci) occasionally exhibits acceptable behavior, but if the film has a villain, it's him. And Ginger (Sharon Stone in the best role of her career) is selfish, spoiled and depressing.
Critics didn't get it. "'Casino' runs a little under three hours, but [you] will feel like it is at least five due to the plodding pace by editor Thelma Schoonmaker," wrote Internet critic Steve Rhodes. Rhodes, along with countless other reviewers, complained about the level of violence - suggesting an NC-17 rating would have been more appropriate.
Whether you will like "Casino" or not depends entirely on your tolerance for character-driven films - and, of course, heavy violence. Ironically, despite its flaws, "Casino" is closer to Scorsese's older work than any of his other recent films - "Taxi Driver" and "Raging Bull" did not feature likable people, either. Whereas we followed Henry Hill's journey from youth in "GoodFellas" and felt empathetic towards him, "Casino" drops us square in the middle of Sam's story and there's no connection - this will either alienate or enthrall you, depending entirely on your taste in cinema. I personally love studies of characters - especially ones that examine the evil inherent in man, and Scorsese is brilliant at revealing these things.
His movie exhibits recognizable elements - a whiz-bang style with quick-cuts, rapid zooms, a diverse pop-and-classical music soundtrack (with no less than four or five Rolling Stones songs), and of course, his famous tracking shots (here, he stages an impressive three-minute examination of a casino without breaking until we exit the front door). But "Casino" doesn't confine itself to the restraints of Scorsese's styling. Here he goes hog wild with the visuals (more so than usual anyway), soaking up the vivid colors of Las Vegas, absorbing the dizzying array of flashing bulbs and tacky bright clothing.
Editor Thelma Schoonmaker, Scorsese's long-time collaborator, experiments with digital editing for the first time here - and employs some new techniques that are subtle but make a subliminal impact. The title sequence, designed by Elaine and Saul Bass, is simultaneously dazzling and haunting.
The performances are almost flawless. De Niro is Sam "Ace" Rothstein, a legendary gambler who is chosen out of the blue to maintain a new casino for the Las Vegas Mafia. Sam explains the economics of the system - the mob take their cut of the profits, the rest goes where it should, and everyone remains happy - so long as nothing goes wrong.
When Ace's old friend Nicky shows up in Vegas he begins to orchestrate a ring of violent robberies - becoming the new leader of a vicious gangster force that threatens to destroy Ace's chances at cutting it straight. Since Nicky is a made man, and Ace is Jewish, he can't stop him - but fears their new lifestyle will only lead to misery.
In the meantime Ace falls for the beautiful call girl Ginger (Stone), who doesn't love Sam, but marries him for his wealth. Her heart really belongs to her ex-boyfriend/pimp (played by James Woods), and at first Ace believes he can tame her into submission; but her free spirit ruins their lives and destroys Ace's confidence.
The movie does have its blunders, and is not on the same level as "GoodFellas," but would at least make the list a few titles beneath it. Some scenes seem unnecessary, and Nicky's violent attack with a pen does seem a bit reminiscent of an almost identical sequence in "GoodFellas" when Pesci attacks someone at a bar. And as enthralling and entertaining as "Casino" is, it never really matches the overall energetic exuberance of "GoodFellas" - they are, despite their close ties, very different films in a cinematic sense.
Still, this is a great film, well made and daring. You'll probably either love it or hate it, but there's no denying its powerful affect on the viewer.
By : John Ulmer (http://www.themovieaddict.com)
Source: rec.art.movies.reviews newsgroup
Rating: 4
Finally. The GOODFELLAS gang (Martin Scorsese, Nicholas Pilegii, Robert De Niro, and Joe Pesci) reunites for this stunning, yet demanding story of mob interests in 1970's Las Vegas. Based on Pilegii's non- fiction book, CASINO is the story of bookie-turned-casino boss Sam "Ace" Rothstein (De Niro). He's the brains behind the operation of the Tangiers Hotel and Casino, who, along with problem pal Nicky Santoro (Pesci), works to keep the cash flowing back to the Midwestern mob bosses.
Despite the prickly prospects of the subject matter--as well as a 177-minute running time--the first hour of CASINO is nothing short of incredible. The story opens with an extended introduction into casino management and the mob ties therein. Every conceivable base is covered as Pesci and De Niro narrate over a steady stream of oldies, while Scorsese's camera stays in constant motion through quick cut after cut after cut. It's a great start that slows, somewhat, in the second hour.
With the introduction of Ginger McKenna (Sharon Stone), a Vegas vamp who ends up holding "Ace's" ace, the narrative becomes more conventional. No problem. Stone proves up to the task of the excep- tionally demanding role, though her cool chemistry with costar De Niro is muted and often difficult to read. In fact, one could argue that, even though it's a dramatic portend to later events, her entire subplot could be easily excised without any noticeable reduction to the overall structure, or emotion, of the story.
If De Niro and Stone are both a bit distant, Pesci is right there. He's the actor with the most fire, even if he's playing awfully close to his Oscar-winning role from GOODFELLAS. (Anyone for a tally of how often Pesci says the f-word? Or how many cigs De Niro smokes?) Backing the big three is a shrewd supporting cast that includes James Woods, Alan King, Kevin Pollock, and a serious Don Rickles. (The funny Don Rickles can be heard in TOY STORY, also opening this week.)
The third, and final hour of CASINO lacks something. As each of the characters close on their grim, inescapable outcomes, there's neither a rush, nor a relief at the end. No overt emotion for the viewer other than, perhaps, horror at the grisly fates suffered by some. (Hint: you'll be taking back junior's baseball-bat Christmas present after watching this one.) The beginning may be a blast, but the ending is nothing special. CASINO just ends; and that's that.
Technical credits are easily some of the best of the year. Dante Ferretti's eye-popping production design is a winner, as are Rita Ryack and John Dunn's fine, period costumes. Great soundtrack, too. Such a sumptuous production. I can't wait to see it again.
