Rethinking Dual Roles in Film: A Look at The Alto Knights
Actors often take on multiple roles in films for a variety of compelling reasons. Twins or clones are common examples, and sometimes unconventional narratives, like Peter Sellers’ performance in Dr. Strangelove, call for such creativity. However, the decision to cast Robert De Niro as both Frank Costello and Vito Genovese in Barry Levinson’s latest film, The Alto Knights, comes off as more of a gimmick than a necessity. The film frequently evokes the feel of The Patty Duke Show, though with a decidedly darker twist as it involves mobsters rather than identical cousins.
Recycled Themes and Familiar Faces
Viewers may find The Alto Knights reminiscent of past cinematic endeavors. With a heritage connecting it to prominent films and actors, Levinson’s project feels like a nostalgic walk down memory lane rather than an innovative narrative. The original title, Wise Guys, is a clear nod to its familiar themes. Although this familiarity doesn’t necessarily equate to a poor film, it undeniably contributes to a sense of redundancy. However, it is heartening to see many former Sopranos cast members still actively finding roles in the industry.
An Exhaustive Screenplay Lacking Engagement
The screenplay, penned by Nicholas Pileggi—renowned for his work on Goodfellas and Casino—has the potential to explore an intriguing story. The narrative delves into the tumultuous relationship between gangsters Frank Costello and Vito Genovese but struggles to elevate its significance. Presented through Costello’s narration, the film often feels like a meandering monologue, akin to the tales your grandfather might share during a visit in Florida.
Character Dynamics: A Study in Contrasts
The film portrays Costello as a sophisticated figure, adeptly hiding his criminal undertakings beneath a façade of charity and respectability. Conversely, Genovese is depicted as a brutish character, utilizing violence to resolve his conflicts. The storyline begins with an assassination attempt on Costello by the aspiring mob boss Vincent “The Chin” Gigante, portrayed as somewhat bumbling. Miraculously surviving this close-range shootout, Costello’s journey involves navigating the treacherous world of organized crime while striving to secure his survival.
Utilizing Historical Footage for Context
The film incorporates an array of archival footage and historical photographs, enhancing the narrative but also slowing its pace. Key relationships, such as Costello’s with his worried wife Bobbie (Debra Messing, stepping into an atypical dramatic role) and Genovese’s tumultuous marriage to Anna (Kathrine Narducci), are painted against this backdrop of organized crime.
Plot Developments Worth Noting
Significant plot lines encompass Costello’s bold testimony during the Kefauver hearings—where he controversially rejects the Fifth Amendment—and the violent demise of his ally Albert Anastasia (Michael Rispoli). Additionally, the film depicts a notorious Mafia summit in upstate New York, which ended abruptly when suspicious police began to investigate the influx of luxury vehicles. This incident hints at Costello’s manipulative strategies to undermine his rivals, showcasing the multifaceted nature of mob politics.
An Overstuffed Narrative
While ambitious in scope, the film ultimately feels overstuffed, lacking the dynamic energy that Martin Scorsese typically injects into mob dramas. It bears the hallmarks of a television miniseries awkwardly condensed for theatrical viewing. For instance, a lengthy tangent discussing the origins of Mormonism interrupts the flow, while Levinson employs stylistic choices like juxtaposing a murder scene with clips from the classic White Heat, which can feel forced rather than insightful.
De Niro’s Twin Performances: A Double-Edged Sword
The film’s most touted feature—De Niro’s portrayal of both leading characters—ultimately detracts from its gravitas. Although De Niro effectively differentiates Costello and Genovese through vocal tones, makeup, and physical transformations, the dual role comes across as a gimmick. This misstep undermines the film’s intended seriousness, resulting in The Alto Knights feeling like a footnote in both Levinson’s and De Niro’s illustrious careers.