Or at least it forces Noodles to make a decision on that count. Movies Are Prayers, Josh's book Get it here. Once Upon a Time in America. Sponsored by the following become a sponsor. Quotes Noodles : [to Deborah] There were two things I couldn't get out of my mind. Crazy credits Joey Faye is credited as the "adorable old man. Alternate versions For its U. Many film critics gave two separate reviews for the film. While the complete European version was highly praised, the heavily edited US theatrical release was critically butchered.
Connections Edited into Bellissimo: Immagini del cinema italiano User reviews Review. Top review. Make sure you get the director's cut! In my opinion these two movies can't be compared. Both are masterpieces in their own way, but each of them has a different style.
You don't compare a Picasso to Michelangelo's Sixteen Chapel either, do you? What is it that makes this movie a masterpiece? Well, first of all there is the director. Sergio Leone is a real master when it comes to creating a special atmosphere, full of mystery, surprises and drama He's one of the few directors who understands the art of cutting a movie in such a way that you stay focused until the end.
The way the movie was cut is also the reason why a lot of Americans don't think this movie is very special. There are three versions, but only the European version is how the director imagined it to be. He didn't want his movie to be shown in chronological order 's - 's - 's , but wanted to mix these three periods of time. The studio cut the movie in chronological order, loosing a lot of its originality and therefor getting a lot of bad critics.
If you want to see this film the way Sergio Leone saw it, you have to make sure you get the director's cut. The second reason why this movie is so great is the music. Ennio Morricone, who is seen as the greatest writer of film music ever, did an excellent job. Together with the images, the music speaks for itself in this movie.
From time to time there isn't said a word, but the music and the images on their own tell the story. He understood perfectly what Sergio Leone wanted and composed most of the music even before the movie was shot. Last but not least there is also the acting and the script. It is a bit of a jumble coming out of an opium dream.
Noodles is on the run, behind in the game, and stoned out of mind. The flashbacks create a cognitive dissonance, and the audience experiences the freefall in a visceral way. The longer version did play at art cinemas in the U. Having seen both on their initial release, this writer preferred the long version of the crime classic, but will admit, they could have answered a phone in the opening sequence before it rang 30 times.
The production of the film is worthy of a star-studded documentary itself. Leone devoted most of his adult life to getting it done.
He turned down The Godfather to make it. He wrote The Hoods while serving time in Sing Sing prison. The author was still in hiding from his former mob associates. Leone began casting in When The Hoods begins, the leading characters are teenage criminals. Richard Dreyfuss was first cast as young Noodles. French actor Gerard Depardieu was cast as young Max, and the part would pass to veteran actor Jean Gabin, an icon of French gangster films. This is true dream casting. Dreyfuss made his mob movie bones playing Baby Face Nelson in Dillinger and would go on to become an acting institution.
At the end of production, the footage in Once Upon a Time in America ran over eight hours, which no movie theater would play for obvious reasons. Sergio Leone and his editor Nino Baragli managed to cut the movie down to six hours.
After cutting down Once Upon a Time in America to a minute beast that he was happy with, the producers necessitated Leone to trim it down even more, so he got it down to minutes for its Cannes premiere. However, the U. Ben Sherlock is a writer, comedian, and independent filmmaker.
He's currently in pre-production on his first feature, and has been for a while because filmmaking is expensive.
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