5 more reviews

1. ›Film Review: Once Upon a Time in America (1984)@drax1724d

   

   The last film of a great film maker is usually a disappointment and it happens because of age and inevitable comparisons with titles made when such film maker was in his prime. One of the rare giants of cinema to escape such fate was Sergio Leone and it could be argued that he did it by going away from his comfort zone. Leone, known as great admirer but also a keen critical observer of American mythology, redefined entire genre and making “spaghetti western” part of any cinephiles’ vocabulary. In 1984, after a pause that lasted than more than a decade, Leone tried to do the same with another American genre with his gangster epic Once Upon a Time in America.

   The film is based on Hoods, semi-autobiographical novel by Jewish American gangster Harry Grey, allegedly written while he was serving prison sentence in Sing-Sing. The protagonist, played by Scott Tier as adolescent and Robert De Niro as adult, is David “Noodles” Aaronson and the plot covers roughly fifty years of his life, starting with early days in Jewish enclave of Manhattan’s Lower East Side. Like many youths in that impoverished community, he turned to crime and formed street gang with his friends. Maximilian “Max” Bercovicz (played by Rusty Jacobs as adolescent and James Woods as adult), newly arrived from Bronx, joins the gang and becomes Noodles’ best friend. Gang’s activities become more lucrative, due to connections with organised crime and opportunities provided by Prohibition. Noodles’ career of bootlegger is put on hold after bloody encounter with rival gangster that resulted with twelve years of prison. After release Noodles rejoins the gang, now presided by Max who accumulated wealth and dreams of branching into legitimate business and politics. All those dreams are threatened by the end of Prohibition that could deprive their gang of steady income, so Max decides to secure it by audacious but ludicrously risky plan. In an attempt to save his friend, Noodles decides to betray him. This goes disastrously wrong and ends in tragic bloodshed, forcing Noodles to leave New York. After decades of hiding and feeling guilt, Noodles receives mysterious invitation and returns in order to face ghosts of his past, which includes famous actress Deborah (played by Elizabeth McGovern and Jennifer Connelly as adolescent) who used to be great love of his life.

   This film had impressive budget, many of it spent on scenes shot on locations and studios at two continents, with hard work being invested in costumes, set, props and other period detail necessary to reconstruct various eras. But the most epic and almost fatal thing about Once Upon a Time in America proved to be its length. Leone envisioned it at two-part film lasting six hours in total, but in the end shortened it to around four hours. Producers initially butchered the film in half for US theatrical distribution, making the plot in that version incomprehensible. They also ditched non-linear narrative structure from Leone’s original version, thinking it would be rejected by audiences unaccustomed to such unconventional technique in big budget mainstream films. Thankfully, the longer version was shown in international markets and, ultimately, became released to home video. Despite not winning any prestigious awards, Once Upon a Time in America was widely praised by critics and is considered one of the best gangster films ever made.

   Leone has spent more than a decade trying to make this film and the time passed is reflected in somewhat different approach, style and tone than in his previous films. His main theme is still American Dream and its connection with often much darker and more prosaic reality. That reality, unlike in the vast expanses shown in Once Upon a Time in the West, looks even more sinister in overcrowded impoverished urban ghettos, where the only ways to succeed in life seem to be immoral and illegal. Partly due to that and partly due to laxer censorship standards, Once Upon a Time in America features more explicit violence than in previous Leone’s films, as well as nudity. The film itself begins with a scenes featuring brutal killings and torture, and one of the most memorable moments features unpleasant and disturbing rape scene. Thankfully, Leone compensates that with brief moments of levity and humour, like in the scene during which one of the Patsy (played by Brian Bloom), young gang member, attempts to lose virginity to local “easy” girl Peggy (played by Julie Cohen) but fails due to the temptation brought by cake. Another is scene in which police captain, brilliantly played by character actor Danny Aiello, becomes target of ingenious, cruel but funny and effective extortion scheme. Those scenes are also crucial for creating sympathies for characters who would otherwise be unbearable to watch due to being involved in violent and reprehensible acts.

   This is also achieved thanks to the cast, one of the best in history of cinema. Robert De Niro gives an excellent example of top actor in his prime. Noodles is one of the best roles of his career and in it he brilliantly portrays man tortured by time lost behind bars and unrequited love, torn between genuine affection and uncontrolled lust and, later, guilt over the bad things he had done. De Niro’s performance is even greater considering that he plays man in his late twenties and early sixties with same skill and confidence. James Woods is also great as Max, character who is megalomaniac madman and ruthless manipulator at the same time. Other notable performances are delivered by William Forsythe and James Hayden (who tragically died of heroin overdose before the premiere) as gang members Patsy and Cockeye, Tuesday Weld as Max’ slutty girlfriend Carol and relatively unknown Larry Rapp as Deborah’s brother Fat Moe. Even the actors playing the characters in their early years do formidable job, but only angelic looking Jennifer Connelly managed to become star as an adult. Good acting is accompanied by Leone’s masterful direction and brilliant cinematography by Tonino Delli Colli. Another great asset of this film is soundtrack by Leone’s old associate Ennio Morricone, who skilfully played with different styles and eras (ranging from classics to John Lennon) and delivered original and memorable piece of music which in many ways helps maintain nostalgic and melancholic tone of the film.

   Once Upon a Time in America is great film, but it isn’t perfect. Some subplots, including those who deal with issues like connections between American organised crime and political establishment, best embodied in character of Hoffa-like union leader Jimmy O’Donnell (played by Treat Williams), are slightly underused. Some viewers, especially those accustomed to MTV-style of film making, would still have problems with Leone’s sense of pace. On the other hand, non-linear narrative structure wouldn’t pose much of problem after decades of films like Pulp Fiction that used similar techniques. Leone in the end plays with the audience by ambiguous finale that leaves many questions unanswered and allows different interpretations, including those that explain much of the latter parts of the film as Noodles’ opium-induced dream. This might frustrate some viewers but most would probably appreciate great piece of film making. Leone died five years after this film and Once Upon a Time in America remained great last title in the relatively small but impressive filmography of a cinema giant.

   RATING: 8/10 (+++)

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2. ›C'era una volta in America: l'ultimo valzer della coppia Morricone - Leone@serialfiller2149d

   La scomparsa di Ennio Morricone ci ha fatto riscoprire il valore della musica, di un soundtrack all'interno della storia della cinematografia. Un valore immenso, che troppo spesso passa in secondo piano. Il compositore romano aveva prodotto oltre 500 soundtrack nella sua carriera. Aveva collaborato con decine tra i migliori registi della storia. Una colonna, un colosso dell'industria cinematografica, che aveva vinto ben 2 oscar, uno alla carriera nel 2006 ed uno per "The Hateful Eight" di Quentin Tarantino. Se dovessimo individuare il sodalizio più riuscito, conosciuto e glorioso della carriera di Ennio Morricone, e probabilmente della storia del cinema, è stato sicuramente quello fra il musicista italiano ed uno dei più grandi registi di sempre, anche lui italiano:

   Sergio Leone

   I 2 erano compagni di scuola a Roma, entrambi con i loro sogni e le loro visioni. Per loro fortuna, e soprattutto la nostra, Leone ebbe l'intuizione di affidare a Morricone la musica dei suoi film. Dalla trilogia del dollaro fino a "Giù La Testa". Ma è forse un altro il film dove il loro connubbio li ha per sempre consegnati al concetto di eterno:

   Once Upon a Time in America

   Per molti, questo è uno dei film che costituirebbero una definitiva top 10 nella storia del cinema. E' un film del 1984 che, in maniera impercettibile, ha cambiato il modo di scrivere un film. L'edizione "americana" non rese onore al film, uscito nel resto del mondo con un editing diverso. L'edizione americana, infatti, riproduceva il film in maniera temporalmente lineaer e senza la parte dedicata all'infanzia dei protagonisti, fondamentale per trattegiarne la personalità e gli inizi. Forse, quella pessima scelta delle major americane ha depotenziato l'impatto di questo film nella storia del cinema. In Italia, in Europa, non vi è dubbio che questo capolavoro sia una pietra fondante della cinematografia. Nel cast un Robert De Niro, nel ruolo di Noodles, forse alla sua miglior prova, affiancato da James Wood nel ruolo di Max, decisamente nel suo più iconico personaggio interpretato in carriera. Once Upon a time in America è un silenzioso spartiacque nella storia del cinema poichè è uno dei primi film che gestisce in maniera "anomala" il concetto di tempo, mescolandolo a quello di sogno. Non è un caso se l'inizio del film e la fine del film rappresentano un unicum. Sergio Leone ha portato con se nella tomba il vero significato di quel meraviglioso finale. Noodles ha sognato tutto? Era solo un uomo tormentato che aveva immaginato una storia parallela per lui e i suoi amici? Oppure Noodles e Max hanno davvero scalato un impero gangster, ritrovandosi ad essere persone influenti e importanti nell'America del proibizionismo? Non lo sapremo mai. Quel finale resta uno dei finali aperti più misteriosi di sempre. E' un film nebuloso, dove la nebbia e il fumo si confondono, e la storia si confonde dentro di essi. L'immagine di copertina è forse una delle immagini cult della storia del cinema. Chiunque abbia passeggiato per New York ha avuto l'ossessione di recarsi a Brooklyn per ritrarre dal vivo quella perfetta fotografia, nel quartiere Dumbo. Once Upon a time in America vuole essere per la storia Americana del '900, quello che Once Upon a Time in West è stato per la storia del Wild West. Sergio Leone abbraccia il gangster movie per portare avanti questa operazione. L'incipit è tutto per un Noodles annebbiato, tormentato, e perso nelle nebbie dell'oppio. Da li, la storia andrà avanti ed indietro, con un utilizzo del "tempo" molto contemporaneo, poco lineare, poco classico. Noodles, Max e compagni uniti da un dolore, da una morte e dall'ambizione. Un'ambizione diversa di cui Max diverrà ossessionato, Noodles vittima. I 2 amici per la vita diverranno, quasi naturalmente e inconsapevolmente, nemici. In lotta l'uno con l'altro. Max vorrebbe sempre di più, Noodles vorrebbe fermarsi, accontentarsi, piegarsi a desideri più semplici, come ad esempio quello per la sua amata Deborah. Una bambina divenuta donna, che Noodles spiava dal buco della serratura mentre lei danzava, sognante Hollywood e la fama. Molto simile a Max in questo, come Noodles le dirà durante la loro serata speciale. Una serata che spezza l'incubo quotidiano di Noodles e gli restituisce un pò di quella naturale bellezza, di quel caldo amore, di quella semplicità perduta.

   Lui e Deborah, un amore mai sopito ma mai definitivamente sbocciato, rotto dalla violenta vita di Noodles e dai sacrifici di Deborah. Una serata romantica, in un ristorante aperto solo per loro 2, con la musica (di Morricone) in sottofondo, con autista dedicato e con 100 tavoli fra cui scegliere. Quella serata sarà solo una parentesi, una goccia in un mare di sofferenza nel quale Noodles annega e annegherà. Finirà nella maniera più violenta possibile, con uno stupro che metterà definitivamente fine al sogno di una vita insieme alla donna che ama. In quella notte, che doveva essere di riscatto, Noodles perderà l'amore, definitivamente a sua innocenza e vedrà sfuggire, per sua colpa, ogni speranza di redenzione, di una vita diversa vissuta con Deborah. E' incredibile pensare come quella scena (la scena dello stupro) probabilmente oggi, nell'epoca del #metoo e delle statue abbattute nelle piazze, sarebbe stata probabilmente censurata. Sergio Leone carica su di essa quasi 2 minuti di atroce violenza, una violenza che fa male allo spettatore e gli permette di spezzare l'empatia che fino a quel momento lo aveva legato a Noodles. In quel momento Sergio Leone ci ricorda che Noodles è un sognatore, ma è anche un uomo violento, un assassino, un estorsore, un criminale, un contrabbandiere. Lo avevamo dimenticato, persi nell'epopea criminale di un uomo romantico e perduto. Da quel momento in poi la vita di Noodles sarà un purgatorio. Meno violenta ma meno vissuta, più tranquilla ma piatta, meno tormentata e per questo senza sussulti. Nel frattempo le immagini scorrono. Noodles va e viene dal film con il suo volto da bambino che si mescola a quello di lui anziano e ritorna nel volto attonito della sua versione adulta. Il tempo, la leggenda, il ritmo che scandisce, con la musica di Morricone, un'America che scorre, evolve, ma è corrotta dentro se stessa, nel midollo, nelle ossa, incapace di redimersi. Vi lascio con i 4 minuti e 19 della leggendaria musica di Ennio Morricone che accompagna il film di Sergio Leone:

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3. ›League of Movies (Fourth Edition | Week 01) - "Once Upon a time in America"@serialfiller2180d

   

   The disappearance of Ennio Morricone has made us rediscover the value of music, of a soundtrack within the history of cinematography. An immense value, which too often takes second place. The Roman composer had produced over 500 soundtracks in his career. He had collaborated with dozens of the best directors in history. A column, a giant in the film industry, which had won two Oscars, one for his career in 2006 and one for Quentin Tarantino's "The Hateful Eight". If we had to identify the most successful, known and glorious association in the career of Ennio Morricone, and probably in the history of cinema, it was definitely the one between the Italian musician and one of the greatest directors ever, also Italian:

   Sergio Leone

   The 2 were schoolmates in Rome, both with their dreams and visions. Fortunately for them, and especially ours, Leone had the intuition to entrust Morricone with the music of his films. From the trilogy of the dollar to "Down The Head". But it is perhaps another film where their union has forever consigned them to the concept of eternal:

   Once Upon a Time in America

   For many, this is one of the films that would constitute a definitive top 10 in the history of cinema. It's a 1984 film that, imperceptibly, changed the way a film is written. The "American" edition did not honor the film, released in the rest of the world with a different editing. The American edition, in fact, reproduced the film in a temporally linear way and without the part dedicated to the childhood of the protagonists, fundamental to outline their personality and beginnings. Perhaps that bad choice by the American majors has undermined the impact of this film in the history of cinema. In Italy, in Europe, there is no doubt that this masterpiece is a cornerstone of cinematography. In the cast, a Robert De Niro, in the role of Noodles, perhaps at his best, flanked by James Wood in the role of Max, definitely in his most iconic character played in his career. Once Upon a time in America is a silent watershed in the history of cinema as it is one of the first films that manages the concept of time in an "anomalous" way, mixing it with the concept of dream. It is no coincidence that the beginning of the film and the end of the film represent a unicum. Sergio Leone took with him to his grave the true meaning of that wonderful ending. Did Noodles dream it all? Was he just a tormented man who had imagined a parallel story for him and his friends? Or did Noodles and Max really climb a gangster empire, finding themselves to be influential and important people in the America of prohibition? We'll never know. That ending remains one of the most mysterious open endings ever. It's a nebulous film, where the fog and smoke blend together, and the story blurs inside. The cover image is perhaps one of the cult images in the history of cinema. Anyone who has walked around New York City has been obsessed with going to Brooklyn to capture that perfect photograph live, in the Dumbo neighborhood. Once Upon a Time in America wants to be for 20th century American history, what Once Upon a Time in West was for Wild West history. Sergio Leone embraces the gangster movie to carry on this operation. The incipit is all for a foggy, tormented, and lost in the mists of opium. From there, the story will go back and forth, with a very contemporary, not very linear, not very classic use of "time". Noodles, Max and companions united by pain, death and ambition. A different ambition that Max will become obsessed with, Noodles victim. The 2 friends for life will become, almost naturally and unconsciously, enemies. Fighting each other. Max would want more and more, Noodles would want to stop, settle, bend to simpler desires, such as that for his beloved Deborah. A little girl turned into a woman, who Noodles was spying through the keyhole while she was dancing, dreaming of Hollywood and fame. Very similar to Max in this, as Noodles will tell her during their special evening. An evening that breaks Noodles' daily nightmare and gives him back some of that natural beauty, that warm love, that lost simplicity.

   He and Deborah, a love never dormant but never definitively blossomed, broken by Noodles' violent life and Deborah's sacrifices. A romantic evening, in a restaurant open only for them 2, with music (by Morricone) in the background, with a dedicated driver and 100 tables to choose from.

   That evening will be just a parenthesis, a drop in a sea of suffering in which Noodles drowns and drowns. It will end in the most violent way possible, with a rape that will definitively end the dream of a life together with the woman he loves. On that night, which was supposed to be a redemption, Noodles will lose his love, definitively to his innocence and will see any hope of redemption, of a different life lived with Deborah, escape through his fault. It is incredible to think how that scene (the rape scene) probably would have been censored today, in the era of the #metoo and the statues torn down in the squares. Sergio Leone charges on it almost 2 minutes of atrocious violence, a violence that hurts the spectator and allows him to break the empathy that until then had bound him to Noodles. At that moment Sergio Leone reminds us that Noodles is a dreamer, but he is also a violent man, a murderer, an extortionist, a criminal, a smuggler. We had forgotten him, lost in the criminal epic of a romantic and lost man. From that moment on, Noodles' life will be a purgatory. Less violent but less lived, quieter but flat, less tormented and therefore without jolts. In the meantime the images flow. Noodles comes and goes from the film with his childlike face mixed with his old one and returns in the astonished face of his adult version. The time, the legend, the rhythm that beats, with the music of Morricone, an America that flows, evolves, but is corrupt within itself, in the marrow, in the bones, unable to redeem itself. I leave you with the 4 minutes and 19 of the legendary music of Ennio Morricone that accompanies Sergio Leone's film:

   I thank @wiseagent for its contest https://peakd.com/hive-166847/@wiseagent/league-of-movies-hive-writing-contest-fourth-edition-or-week-01-play-that-music and taggo @namiks and @tegoshei, inviting them to participate in the contest in the coming weeks.

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4. ›Once Upon a Time in America - "Today they asked us to get rid of Joe, tomorrow they ask me to get rid of you"@dedicatedguy2349d

   

   This is the longest films I have ever watched at 4 hours and 11 minutes long, taking the number 1 spot from Watchmen director's cut which is 3 hours and 35 minutes long. Sadly, this De Niro's little known movie from the 80s falls short of my expectations.

   As every gangster film lover will know, De Niro has an excellent record when it comes to participating in great gangster movies throughout the years. So I was pretty excited when I was given the chance to watch the most extended version of this film which is supposedly just as the director wanted it to be.

   This particular film has kind of a troubled history because when it was first released, there were conflicts between the director and the studio. The theatrical release was a shorter version of about 2 hours which received horrible critics and was very different than the way the film was meant to be.

   The American theatrical release was chronological and the film wasn't directed to be this way. Eventually, the movie was restored and released as it was meant to be, with 2 versions, one lasting 3h 49min and the longer one lasting 4h and 11 min.

   

   I am not sure if it is worth it to watch the super extended version, maybe the one lasting 3h 49min is a better choice. I write this based on the fact that there were several scenes that looked awful and I bet these are the extra ones that were recovered, besides looking awful they added little substance to the story.

   The story is basically about the friendship between several men beginning since they were children and continuing well into adulthood. The transition between the different periods of time (childhood, adulthood, and seniorhood) is nicely done and I can imagine why the chronological version is less preferable, it won't have several subtle touches that link these different periods from the POV of the characters.

   

   These kids began to participate in criminal activities from a very young age and they will remain criminals for the rest of their lives, developing dark connections and increasing their money and success as they become adults.

   As it is usually the case when it comes to gangster's stories, eventually there will be betrayals, scammers, doubled faced characters, and all sorts of threats that can cause havoc in the life of anyone involving in criminal groups. This movie isn't the exception.

   Time will test how strong these friendships really are, and will prove if thirst for money can ultimately become a more powerful force than brotherhood itself.

   

   The best

   • It was nice to see these characters as children, adults and some of them as seniors.
   • Good and subtle transition between the different periods of time.
   • Charismatic children, the parts where we see these characters in their first criminal years were very entertaining.

   The worst

   • Maybe it was the extended version that I saw, but some scenes had low image quality and it was very noticeable when a scene was one of the restored ones.
   • The movie felt very slow. I am sure watching the super-extended version of more than 4 hours was an important factor.
   • The plot could have been more exciting.

   More information: https://www.themoviedb.org/movie/311-once-upon-a-time-in-america Review: AAA In numbers: 7/10

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5. ›Մի անգամ Ամերիկայում (Once Upon a Time in America, 1983)@panza2825d

   Էպիկական կինոյի գլուխգործոցներից, մաֆիայի եւ գանգստերի մասին, կրոնական աստվածաշունչը եւ իդեալական իտալացի ռեժիսոր Սերխիո Լեոնեի այս անհավատալի նկարը «Ամերիկայում ժամանակի ընթացքում» ակնհայտ է: Չնայած չորս ժամ տեւողությանը եւ ժանրային դրդապատճառին, ֆիլմը նայում է մեկ քայլին: Եվ սա, ըստ էության, պարզապես անհավանական է: Սա անմիջական արժանիք է «Լավ, վատ, Չարի» հեղինակը, որը տեղավորվում է Նյու Յորքի փողոցային խորտակիչների ամբողջ կյանքի ընթացքում, ովքեր մեծացել են էլիտար գանգստերների մեջ, սակայն չեն կորցրել իրենց մարդկությանը եւ նրանց մեծ բարեկամությանը: Մանկությունից մինչեւ ծեր տարիքի, որի ազդեցությունը կարելի է հասնել հասարակ դիզայնի միջոցով, որն այժմ մանրազնին մոռացված է, նախընտրում է ավելի շատ համակարգչային փոփոխություններ: Այս ժապավենը ունի այն ամենը, ինչ անհրաժեշտ է. Սիրային գործեր, կրքոտ կանանց մարմինների առատություն, սպանություններ եւ հրացաններ, նենգ նմուշներ եւ հիմքեր, արցունքներ եւ ուրախություն, գեղեցիկ քաղաքային լանդշաֆտներ, լավ հումոր եւ շատ ավելին.

   IMG

   Ճիշտ է, այս ամենը համատեղելու համար անհրաժեշտ է հսկայական տաղանդ, որն օգտագործեց Լեոնեն: Տպավորություններից հետո տպավորությունները դրական էին: Հատկանշական է, որ ֆիլմը հիշատակվել է ոչ թե կոնկրետ տեսարանների կամ դրվագների համար (չնայած գլխավոր հերոսի խենթ ժպիտից ի վերջո այն դեռեւս հետեւի գլխարկներ), բայց որպես ամբողջություն, հստակ ցույց տալով, թե ինչպես են մարդիկ ապրում դարի սկզբին գոյատեւել եւ ինչպես բարձրանալ մինչեւ վերեւ: Անմիջապես ես նշեմ, որ ոչ պակաս փայլուն Էննիո Մորիկոնեից փայլուն հնչյուններ: Հնարավոր է, երաժշտությունն այժմ ավելի հայտնի է, քան ֆիլմը: Բայց միասին նրանք ստեղծում են գլուխգործոց, որը, իմ խոնարհ կարծիքով, կինոյի պատմության լավագույն դաշնակահար ֆիլմն.

   Հատկապես համառոտ նկարագրելու համար հարկավոր է շատ խոսք, բայց դեռ փորձը խոշտանգում չէ: Այս պատմության գլխավոր հերոսը, Նապոլին, ապրում է Նյու Յորքի հարեւանությամբ իր ընկերության հետ եւ երազում է դառնալ ազդեցիկ գանգստեր, որն ունի իշխանություն, փող եւ աշխարհի բոլոր հաճույքները: Սա երիտասարդ երազանքների եւ կոշտ իրականության ժամանակն է: Ժամանակը, երբ դուք կարող եք համոզել հարեւան աղջկան, որ ձեզ հետ սեռական հարաբերություն ունենաք հարած սերուցքով տորթի համար: Դուք կարող եք վաստակել ձեր վաստակը մի մարդու վրա, որը չվճարեց մեծ ղեկավարին: Բայց տղաները ուզում էին ավելի շատ, քանի որ ազդեցիկ գանգստարի համար աշխատելը շատ թույն է, բայց նույնը դառնալը եւ անկախ լինելը նույնիսկ ավելի լավն է: Ճիշտ է, այդպես վարվելը այնքան հեշտ եւ անվտանգ չէ, որքան Նոդելը եւ նրա լավագույն ընկերը, Մաքսը: Բայց ամեն ինչ անցնելուց հետո, մեծահասակ լինելով, ընկերներն իրոք հավատարիմ են մնում եւ շարունակում են անել կեղտոտ բաներ, որոնք բերում են շահույթ: Բայց բոլոր լավ բաները վերջանում են եւ դառնում հուշեր.

   IMG

   Սցենարը փայլուն է: Այստեղ ամեն ինչ այնքան թույն է, որ ամբողջ պատմությունը նայում է մեկ շունչին եւ ոչ մի տեղ չի սահում: Իհարկե, դերասանները լավ գործեցին իրենց աշխատանքով: Հարկ է նաեւ նշել, որ մեծահասակները եւ դեռահասները շատ նման են միմյանց, այսինքն, կատարվել է ձուլման աներեւակայելի աշխատանք: Մեր ժամանակներում այս երեւույթը շատ հազվադեպ է: Ես կսկսեմ, թերեւս, մեծ Ռոբերտ Դե Նիրոյի հետ, որը գլխավոր դերակատարի պատկերով պարզապես հրաշալի եւ անհամեմատելի է: Չնայած մեծածավալ ֆիլմոգրաֆիան, նրա դերը իմ բոլոր ժամանակի ֆավորիտներից մեկն է: Անշուշտ, նրա կարիերայի լավագույն դերը խաղացել է Ջեյմս Վուդսին, որը, ի դեպ, այնքան բարձր որակով էր ապրում, որ հիմա նայում է նույնը, ինչպես այստեղ է կատարելագործումը: Նա մեծ դեր խաղաց, որոշ անհասկանալի խելագարության եւ ոգեւորության էներգիան, որը նրան ուղեկցում էր էկրանին էկրանավորվող յուրաքանչյուր տեսքով.

   IMG

   Ես գոհ եմ Ջո Պեսչիի փոքրիկ տեսքից, որը, ինչպես միշտ, կարծես գանգստեր է: Ես տպավորված էի, այնուհետեւ դեռ շատ երիտասարդ եւ անծանոթ էի, Ջենիֆեր Կոննին, որը դրվագներից մեկում նույնիսկ մի փոքր մերկ էր: Մարդիկ այնքան լավ էին, որ երիտասարդ դերասանները, որոնք նկարագրեցին հիմնական տարրերը վաղ տարիներին: Եվ մի քիչ ավելի շատ ձայնագրության մասին: Գուցե նա աչքի է ընկնում մի քիչ մոնոտոն, բայց տեղին է այն, ինչ կատարվում է այնքան ճշգրիտ, որ դա նրան մինուս չէ, այլեւ գումարած: Ես ուզում եմ լսել հիմնական մեղեդին բազմիցս: Ընդհանուր առմամբ, եթե մենք ամփոփում ենք կարճ արդյունքներ, ապա «Ամերիկայում մեկ անգամ», անկասկած, դասական ֆիլմ է, որը պետք է դիտի յուրաքանչյուր ինքնահռչակ կինոյի երկրպագու: Եվ չպետք է շփոթել չորս ժամում լարված ժամանակացույցով, ժամանակն անցնում է աննկատ եւ տպավորությունները կմնան միայն առավել հաճելի: Համոզված եղեք, քանի որ Սերխիո Լեոնեի այս գլուխգործոցը դա արժանի է: Իմ անձնական գնահատականը, առավելագույնը.

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