Gangster Movies Full

[Jenette Bregantini]

Agangster film or gangster movie is a film belonging to a genre that focuses on gangs and organized crime. It is a subgenre of crime film, that may involve large criminal organizations, or small gangs formed to perform a certain illegal act. The genre is differentiated from Westerns and the gangs of that genre.

In the 1970s, as genre theory came to the focus of academic study and the creation of a more specific taxonomy of genres was defined, gangster film started being distinguished from other subgenres, especially that of western. The genre has been predominantly defined by its historical, ideological, and sociocultural context.[4] Three main categories of gangster films can be distinguished, according to Martha Nochimson: films that follow the escapades of outlaw rebels, such as Bonnie and Clyde, melodramas of villain gangsters against whom the in-story victims and the audience identify, such as Key Largo and, most predominantly in the genre, films following an outsider, immigrant gangster protagonist, with whom the audience identifies.[5]

The first Japanese films about the Yakuza evolved from the Tendency films of the 1930s. They featured historical tales of outlaws and the abuses suffered by the common people often at the hands of the corrupt powers that be.[6] The so-called "Chivalry movies" of the 1960s gave way to the violent realism of Kinji Fukasaku, whose 1973 Battles Without Honor and Humanity would inspire future filmmakers across the globe.

1931 and 1932 produced three of the most enduring gangster films ever. Scarface, Little Caesar and The Public Enemy remain as three of the greatest examples of the genre. However, starting in the mid-1930s, the Hays Code and its requirements for all criminal action to be punished and all authority figures to be treated with respect made gangster films scarce for the next three decades.

Politics combined with the social and economic climate of the time to influence how crime films were made and how the characters were portrayed. Many of the films imply that criminals are the creation of society, rather than its rebel,[7] and considering the troublesome and bleak time of the 1930s, that argument carries significant weight. Often the best of the gangster films are those that have been closely tied to the reality of crime, reflecting public interest in a particular aspect of criminal activity; thus, the gangster film is in a sense a history of crime in the United States.[8]

The institution of Prohibition in 1920 led to an explosion in crime, and the depiction of bootlegging is a frequent occurrence in many mob films. However, as the 1930s progressed, Hollywood also experimented with the stories of the rural criminals and bank robbers, such as John Dillinger, Baby Face Nelson, and Pretty Boy Floyd. The success of these characters in film can be attributed to their value as news subjects, as their exploits often thrilled the people of a nation who had become weary with inefficient government and apathy in business.[9] However, as the FBI increased in power there was also a shift to favour the stories of the FBI agents hunting the criminals instead of focusing on the criminal characters. In fact, in 1935 at the height of the hunt for Dillinger, the Production Code office issued an order that no film should be made about Dillinger for fear of further glamorizing his character.

Many of the 1930s crime films also dealt with class and ethnic conflict, notably the earliest films, reflecting doubts about how well the American system was working. As stated, many films pushed the message that criminals were the result of a poor moral and economic society, and many are portrayed as having foreign backgrounds or coming from the lower class. Thus, the film criminal is often able to evoke sympathy and admiration out of the viewer, who often place the blame on not the criminal's shoulders but a cruel society in which success is difficult.[10] When the decade came to a close, crime films became more figurative, representing metaphors, as opposed to the more straight forward films produced earlier in the decade, showing an increasing interest in offering a thought provoking message about criminal character.[11]

With the abolition of the Hays Code in the late 1960s, studios and filmmakers found themselves free to produce films dealing with subject matter that had previously been off-limits.[2] Early examples include Arthur Penn's depression-era tale of Bonnie and Clyde; Mean Streets, Scorsese's cinema vrit story of a young aspiring mobster and his problem-gambler friend, played by Robert De Niro; and Sam Peckinpah's Bring Me the Head of Alfredo Garcia, about the Mexican mob, family honor, and the opportunistic Bennie (Warren Oates), friend of the eponymous Alfredo Garcia, looking to make a big score when the chance drops in his lap. Bonnie and Clyde was one of 1967's biggest box office hits and garnered 2 Academy Awards and 8 other nominations including best picture. It, along with the others, however, were overshadowed by Francis Ford Coppola's Godfather saga.

In 1972, Francis Ford Coppola's The Godfather was released. The epic story of the Corleone family, its generational transition from post-prohibition to post-war, its fratricidal intrigues, and its tapestry of mid-century America's criminal underworld became a huge critical and commercial success. It accounted for nearly 10% of gross proceeds for all films for the entire year.[12] It won the Oscar for Best Picture, as well as the award for Best Actor for Marlon Brando[13] and is widely considered one of the greatest American films of all time. Two years later, The Godfather Part II became the fifth-highest-grossing film of the year and garnered 11 Academy Award nominations. It again won Best Picture. Coppola won Best Director and Robert De Niro won best supporting actor for his portrayal of a young Vito Corleone.

The lesson of the films' successes was not wasted on Hollywood. Throughout the 1970s and 1980s, the studios issued a steady flow of films about Italian American gangsters and the Mafia. Some of these were critically acclaimed. Such as Scorsese's Goodfellas about Henry Hill's life and relationship with the Lucchese and Gambino crime families, was nominated for six Academy Awards, including Best Picture and Best Director and won the award for Best Supporting Actor for Joe Pesci's performance. Italian-American film Once Upon a Time in America directed by Sergio Leone about David "Noodles" Aaronson played by Robert De Niro is considered one of the best gangster films of all time.[14] The 1987 film The Untouchables was nominated for four Academy Awards; Sean Connery won the Academy Award for Best Supporting Actor in his role as an associate of Eliot Ness who helped bring down Al Capone.[15] Others, however, strayed into stereotypes and the gratuitous use of Italian ethnicity in minor characters who happened to be criminals. This created a backlash in a portion of the Italian American community.[16]

The films of the 1990s produced several critically acclaimed mob films, many of which were loosely based on real crimes and their perpetrators. Many of these films featured long-time actors well known for their roles as mobsters such as Al Pacino, Robert De Niro, Joe Pesci and Chazz Palminteri.

Goodfellas, directed by Martin Scorsese, starred Ray Liotta as real-life associate of the Lucchese crime family Henry Hill. It was one of the most notable gangster films of the decade. Robert De Niro and Joe Pesci also starred in the film with Pesci earning an Academy Award for Best Actor in a Supporting Role. The film was nominated for six Academy Awards in all, including Best Picture and Best Director, making Goodfellas one of the most critically acclaimed crime films of all time.

Al Pacino also returned to the genre during the 1990s. He reprised his role as the iconic Michael Corleone in The Godfather Part III (1990). The film served as the final installment in The Godfather trilogy, following Michael Corleone as he tries to legitimize the Corleone family in the twilight of his career.

In 1993, Pacino starred in Carlito's Way as a former gangster released from prison that vows to go straight. In 1996, Armand Assante starred in television film Gotti as infamous New York mobster, John Gotti. In 1997's Donnie Brasco, Pacino starred alongside Johnny Depp in the true story of undercover FBI agent Joseph Pistone and his infiltration of the Bonanno crime family of New York City during the 1970s. It was nominated for an Academy Award for Best Adapted Screenplay.

In 2006, Scorsese released The Departed, his adaptation of Infernal affairs, the Hong Kong film. The Departed was also loosely based on the Whitey Bulger story, and Boston's Winter Hill Gang, which Bulger led. It earned Scorsese an Academy Award for Best Director and the film won the Academy Award for Best Picture.

A 2018 biographical mafia film, Gotti, directed by Kevin Connolly, stars John Travolta as John Gotti, released in June. On review aggregator Rotten Tomatoes, the film holds an approval rating of 0% based on 38 reviews, and an average rating of 2.3/10. The website's critical consensus reads, "Fuhgeddaboudit."[17] In 2019, Martin Scorsese released a biographical mafia film distributed by Netflix, The Irishman, starring all three heavyweights in the genre, Robert De Niro as Frank "The Irishman" Sheeran, Al Pacino as Jimmy Hoffa and Joe Pesci as Russell Bufalino.[18]

The Many Saints of Newark is an American crime drama film directed by Alan Taylor and produced by David Chase and Lawrence Konner, as a prequel to Chase's HBO crime drama series The Sopranos. The film focuses on the 1967 Newark riots.[19]

Apart from telling their own tales of African American gangsters in syndicates, films like Black Caesar feature the Italian mafia prominently. Often the blaxploitation films of the 1970s such as Shaft tell the tale of African American gangsters rising up and defeating the established white criminal order.[20] African Americans were under-represented in filmmaking roles during much of the 20th century. It took African American producers and directors of the 1990s like John Singleton, Spike Lee and the Hughes Brothers to begin exploring the criminal lifestyle in American urban communities, telling stories of drugs, gang culture, gang violence, racism and poverty in African American communities.[21] Examples of films from the 1990s fitting the African-American gangster genre include Boyz N The Hood, Menace II Society and New Jack City. [22][21]

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