Once Upon a Time in America

napanuod ko to dati bata a ako 10 yrs old ako nung makita kong pinapanuod to ng tatay ko.. sa dumaan na ilang taon now ko lang naintndhan .. sya nalang natra (noodles)

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source: Once Upon a Time in America

Thanks for bringing out the dummies Netflix.. If this review doesn't get at least 20 dislikes I'll feel ive been sold a false promise. Mcu and other modern dog💩 have ruined film. This movie is great. Brilliant storytelling, acting and cinematography. My favorite of leone. The soundtrack is one of enio's best. Like i always say if you dont like crime dramas go watch some mcu trash or like GOT🤢 This will stand the test of time, modern bs wont.

Sergio Leone, best known as the godfather of spaghetti Westerns, here makes a film about a gangster called Noodles. With its broad historical sweep, achronological story lines, three hour-plus runtime and generous score (written by longtime collaborator Ennio Morricone), it's nothing if not ambitious. Indeed, some of the balletic collages of music and images in this movie resemble no other film more than '2001: A Space Oddysey', which is certainly not something you can say of most gangster movies. Unfortuantly, the dialogue and characterisation are not as strong as the imagery, the conclusion to the plot doesn't quite convince (or indeed, pack a big enough punch to wholly satisfy after a movie of this length), and at times the film seems almost to endorse its central characters' crude, and sometimes sexually violent, world view. It features a handsome leading couple in Robert de Niro and Elisabeth McGovern; but it's a shame that its substance is not as distinctive as the style.

Once Upon A Time In America is the crowning achievement of director Sergio Leone. It's nearly four hours long,and demands total concentration from beginning to end. However,those willing to submit will find it more than worth it. Reminiscent at times of some very old gangster films such as The Roaring Twenties,one will find almost every gangster movie cliché one can find-one can imagine Leone half remembering bits and pieces from films he saw as a youth. However,he never glamourises his protagonists-he may dare us to like Robert De Niro's 'Noodles'-a murderous thug and rapist who always seems to make the wrong decisions-but that's different from glamourising him. The notorious rape scene is all the more hard to watch because its painful to watch Noodles try to destroy himself and his girlfriend by going through with it. What really makes this film different is it's overwhelming melancholy. Leone's favourite loyalty/betrayal theme is there,but the film is also a study of memory,of a lost soul coming to terms with his past. Therefore,starting in mid-plot in the 1930s,than flashing back and forth in time,was the right choice {if initially confusing!}. This is the culmination of Leone's increasing interest in the flashback structure-think especially of the parallel story told in A Fistful of Dynamite's flashbacks. There is action,but it's mostly quick and brutal,and there is also humour,such as a very funny scene set to Rossini's Thieving Magpie where the gangsters are loose in a hospital filled with babies. However,the broody,melancholic tone never really goes away,and towards the end,the film grinds to a virtual halt. Be warned,there is no action climax,just a series of somewhat oblique dialogue scenes and revelations. The expected Leone flamboyancy is hardly to be found,but the film still often soars most when dialogue is kept to a minimum and Ennio Morricone's gorgeous music takes over. Some of the most brilliant scenes just consist of Noodles seeing and reflecting. In one especially effective and poignant scene near the end,an old Noodles is leaving his love Deborah as her achingly sad theme plays,and he sees her son,who is the spitting image of,well,I try to avoid spoilers! As the music changes into the still sad but more majestic main theme,the camera slowly zooms,as it often does,into Noodles' sad eyes. We go to what is initially a blur,until we realise it's curtains. The person who holds the key to all this appears,like a ghost,through the curtains and goes onto a balcony,from where he sees the same 'son' with a girlfriend. Sheer brilliance,and not a gun in sight! Of course De Niro is great,but he's obviously very restrained and reflective. It's James Woods who really dominates,so dynamic here,this should have made him a big star. One must also mention Tonni Delli Colli,who photographs three time periods with slightly different hues but still subtly. Leone's original cut was five hours and if you want to be picky there are holes in the plot. Leone leaves a great many things ambiguous,but shouldn't all great art ask questions? Once Upon A Time In America is not necessarily easy viewing,but it IS great art,the final statement of one of the best filmmakers of all time.

Once Upon a Time in America, which bookends Once Upon a Time in the West as director Sergio Leone's best work, is a powerhouse of a movie. A gangster epic told in a very different style than the standard of the genre, The Godfather, it is in some ways (at least to this viewer) even more emotionally compelling. Although the movie was sabotaged upon release by an edited studio version eliminating about 40% of its original length, the version now available for rental is thankfully the nearly 4 hour version intended by Leone. The story is at essence a basic one about friendship among thieves, telling the story of a group of Jewish kids in New York near the turn of the century who grow up to become powerful and ruthless mobsters, while maintaining (or trying to) their bond with one another. As was most famously done in the taxi scene between Rod Steiger and Marlon Brando in On The Waterfront, the movie again makes the point that bad people can have good aspects to them, such as loyalty, devotion, and even love. I think this movie includes one of Deniro's best roles, and far and away James Woods best film work. The score, by arguably the greatest movie composer of all time, Ennio Morricone, is incredibly haunting in its beauty and sadness (with no fewer than three separate themes that are breathtakingly beautiful). The non-chronological manner in which the story is told results in a wonderfully effective narrative device: the movie begins and ends with the same scene. The first time you see the scene, it is a frantic jumble, without meaning or context, and you do not know why it is so important. When the scene recurs at the end of the film, everything has become clear, and the scene has an incredible poignancy and sadness to it: although it occurs in the middle of events chronologically, you realize that, in a real sense, life stopped at this point for one of the film's main characters. There is no other event that matters anymore to him. This is not a simple movie, and it merits repeated viewings. Indeed, in my view one cannot fully appreciate the greatness of the film until the second viewing, when the full story is known, and the events of the film resonate with knowledge of where they ultimately, and tragically, lead.