Fear and Loathing in Once Upon a Time in America
Robert De Niro, James Woods, Elizabeth McGovern (1984) Review
May 4, 2009
At 229 minutes, the achingly sad and melancholic film, arguably director Sergio Leone's best, is not necessarily an enjoyable film to watch, but it is without question a masterpiece. A brilliant stylistic achievement, it is lyrical, graceful, and hypnotic, with a score by Ennio Morricone that may be one of the most poetic in the history of film. It is also dirty, hallucinatory, and disturbing. It is both ugly and beautiful in almost every way.
With its lack of sympathetic characters, multitude of graphically violent scenes, and slow, heavy pace, it is not your average film. One of the longest mainstream movies ever made (the original, not the heavily-edited, and many would say ruined, American version), it requires a different, and committed approach from the viewer. It is not a film you watch - it is a film you experience.
Plot and Characters
Chronicling the lives of four merciless gangsters over five decades in New York City beginning in the 1920s, the film only masquerades as a gangster flick. In essence it is a story of first generation Americans and their struggles to rise above their circumstances. In particular, it follows the life of one man who must live with the questionable choices he's made, and chronicles what happens when a man wracked with guilt discovers that he was not in fact the betrayer, but the betrayed.
Robert DeNiro plays David "Noodles" Aaronson, a tormented man both hunted and haunted by his past. From the first moment we meet him, in a drug-induced haze inside of an opium den, it is clear that Noodles is a man hiding from life itself. It is a pivotal juncture in his life, marked by the incessant ringing of a telephone - one that exists only in the conscience of a guilty man. The telephone is a powerful triggering device, indicating Noodles' emotional anguish.
Interestingly enough, Noodles is not the driving force of the story. He is a puppet hero, controlled by his closest friend and ally, Max, who is brilliantly portrayed by James Woods. From the moment the ambitious Max enters the story he manipulates and controls Noodles. Whether or not Noodles is aware of this remains to be seen, but there is no doubt that his beloved, Deborah, sees it all too well.
Jennifer Connelly gives an exceptional performance as the strong-willed and determined young Deborah. As her adult counterpart, Elizabeth McGovern never stood a chance. While her performance is decent, it simply doesn't hold up to Connelly's. While still determined, she comes off as too frail and doll-like, although in her defense, it is unlikely that any actress could have upstaged Connelly.
Non-Linear Narrative
It's easy to see why the original version made the execs at Warner Bros. nervous. It is a grand tale, told slowly and methodically. It is a complex lesson in non-linear narrative. The story makes transitions through time, yet the structure is essential. The narrative is woven together so beautifully, that the very thought of it being toyed with is heartbreaking. Yet it was feared that the length, and trips through time, would confuse American audiences, so almost 90 minutes were cut and the tale was told in chronological order. Many people believe this was a massive error on the part of the Ladd Co. The film was compromised and thus became a flop.
The ending is fairly ambiguous and may leave you with more questions than answers, but it's best if you don't try too hard to make sense of it. Just sit back and enjoy a cinematic masterpiece. Whether you love it or hate it, this one will stick with you.
