For six decades, Robert De Niro has been regarded as the premier actor for gangster roles. Earlier this month, he reunited with director Barry Levinson, for “The Alto Knights,” which examines 1950s Mafia life through the real-life relationship of former friends turned rival bosses, Vito Genovese and Frank Costello.
For six decades, Robert De Niro has been regarded as the premier actor for gangster roles. Earlier this month, he reunited with director Barry Levinson, for “The Alto Knights,” which examines 1950s Mafia life through the real-life relationship of former friends turned rival bosses, Vito Genovese and Frank Costello.
De Niro undertakes the formidable task of playing both characters simultaneously, which comes across more as a cinematic stunt than a compelling creative choice.
With almost any other actor in the roles, “The Alto Knights” would have likely been a straight to streaming movie that would be forgotten rather than an early spring theatrical release from a major studio like Warner Brothers.
Despite the use of prosthetics to alter his appearance, it can sometimes be challenging to distinguish which mob boss De Niro is portraying at the beginning of each scene. Heavy handed dialogue as well as a lack of distinct physical or vocal differences in De Niro’s performance adds to this confusion.
Although there is a subtle sense of mafioso brotherhood between the two De Niro characters, the notion that Frank and Vito represent opposite sides of the same coin does not fully resonate.
The lack of distinct individual traits beyond Frank’s anti-heroism and Vito’s more straightforward violent villainy makes it difficult to clearly distinguish between the two characters, making the entire film disjointed.
“The Alto Knights” may leave audiences yearning for familiar faces like Joe Pesci or Al Pacino, who have collaborated with De Niro, to portray one of the two leads. This would have given far more ability for highstakes interactions between two dynamic actors. In this case, De Niro acts as a stand-in, then reacts to his own performance.
Levinson’s film inevitably invites comparisons to Scorsese’s superior 2019 retrospective “The Irishman,” which earned Oscar nominations for nearly everyone involved except De Niro himself. There’s a melancholic finality to that film that wraps up Scorsese’s history in Mafia movies that should have been the coda for De Niro, as well.
The decision to have Frank narrate the film directly to the camera falls flat due to the disjointed nature of Nicholas Pileggi’s screenplay. He also penned that crime classic and 1995’s “Casino.” This, combined with Levinson’s poorly executed filmmaking, results in an awkward and clunky narrative that is disengaging.
An Oscar winner in his own right for “Rain Man,” Levinson works best as a director when making lighter dramedies. His inexperience crafting heavy crime noir comes across more as a stylized homage to more confident directors rather than someone with a singular vision.
At times, it feels as though the supporting cast isn’t quite sure what kind of film they are in. Debra Messing and Katherine Narducci chew up the scenery in over-the-top turns as Frank’s wife, Bobbie, and Vito’s wife, Anna, respectively, while most of the actors portraying mob bosses give restrained turns more in keeping with De Niro’s Frank persona.
While it’s clearly not on par with classic crime dramas, “The Alto Knights” has an ease of watchability that might make it worth seeking out later this year when the film is inevitably released onto the Max streaming service.
Matt Ward is a local film critic, who is also an official Rotten Tomatoes reviewer. Continue the conversation online at www.cinematicconsiderations.com.