De Niro Doubles Down in Gangland Drama ‘The Alto Knights’
“’They’re the same – he’s marrying himself!’” Bobbie Costello (Debra Messing), visibly taken aback, remarks to her seemingly unconcerned mobster husband, Frank Costello (Robert De Niro). They are attendees at the wedding of Anna (Kathrine Narducci), a capricious nightclub owner, to Vito Genovese, Frank’s quick-tempered mafia associate. The casting twist? Vito Genovese is also embodied by Robert De Niro.
Double Trouble: De Niro in Dual Roles
Barry Levinson directs this detailed true-crime narrative penned by Nicholas Pileggi, charting the deadly feud between Frank and Vito in 1950s New York. However, it lacks the nuanced perspective and narrative depth characteristic of Pileggi’s prior screenplays. De Niro’s portrayal of Vito is marked by a sullen resentment and taciturn demeanor, complete with glasses and a hat. As Frank, De Niro presents a similarly glowering and reticent figure, though perhaps slightly less irascible and sans eyewear and hat. Bobbie’s line feels like a self-aware joke regarding the unconventional casting decision. Yet, the rationale behind casting the same actor as Vito and Frank remains unexplored and unresolved by the film, echoing the familiar “Spider-Man pointing” meme. Are we meant to believe they are essentially the same individual? Possibly. But this simplistic approach undermines the potential for nuanced distinctions between the two men, who, in reality, are no more alike than any other hardened criminals in their circle. One might even jest that everyone in the film, regardless of gender, could have been portrayed by Robert De Niro, in a style reminiscent of a Charlie Kaufman film.
Plot Points and Gangland Dynamics
Prior to the war, Frank and Vito prospered in illicit trade – black market liquor, narcotics, and illegal gambling – as part of the Lucky Luciano syndicate. Vito sought refuge in Italy, and upon his New York return in 1945, he discovered his former comrade was only offering him a meager share. Furthermore, the steady and cautious Frank resisted expanding into the drug trade, having secured a comfortable, quasi-respectable societal standing through bribery. Frank’s expressed desire to retire and his willingness to cooperate with grand juries as a non-subpoenaed witness incenses Vito. Vito understandably suspects Frank intends to betray his erstwhile associates and thus orders a hit, resulting in a bungled and brutal assassination attempt that spirals into catastrophe.
Familiar Tropes and Fading Impact
The movie’s title references the postwar New York social club frequented by Vito and Frank. It was previously titled “Wise Guys,” perhaps deemed too similar to Pileggi’s book “Wiseguy,” the basis for the acclaimed film “Goodfellas.” The film incorporates recognizable genre conventions, such as the classic barbershop hit, alongside interspersed black and white flashback sequences and snippets of documentary footage. Expository dialogue, delivered by veteran actors within the club setting, frequently serves to clarify the unfolding events for both the characters and the audience. Pileggi posits that Costello deliberately orchestrated the mass arrest of the nationwide mafia leadership at an upstate New York summit, informing law enforcement to protect himself – a snitch tactic. However, the film avoids portraying Costello as an informant, opting for a sentimental conclusion where he shares a prison cell with Vito.
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Final Verdict: A Diminishing Return
While the film’s initial act possesses a degree of strength and intensity, its intrigue diminishes, offering little in terms of ambition or levity. A poignant, autumnal moment surfaces when Frank, weary and aging, is reluctantly compelled by his wife to walk their dogs in Central Park, clad in mink coats against the chill.