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Sometimes dubbed “the Master of the Macabre,” director Brian De Palma is best known for his enactments of the supernatural (“Carrie”), mania (“Dressed to Destroy”) – and his mob stories. The latter allotment of his reputation is primarily grounded on four of his movies from the ten-year period between 1983 and 1993: “Scarface” (1983, starring Al Pacino), “Wise Guys” (1986, starring Danny De Vito, Joe Piscopo and Harvey Keitel), “Carlito’s Arrangement” (1993, again starring Pacino) … and “The Untouchables” (1987), featuring an all-star cast including Robert De Niro, Kevin Costner, Sean Connery, Andy Garcia and Charles Martin Smith. Among these, “The Untouchables” stands out as the only movie not primarily told from the gangster’s but from the lawmen’s perspective – but what it does part with all of De Palma’s works is an almost voyeuristic appeal to its audience’s visual senses; going far beyond the lavish indicate of film blood it is most often cited for.
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Less fact-based than cinematic colossal opera par excellence, the movie takes as its premise the destroy of the career of Chicago’s ganglord of ganglords, Al “Scarface” Capone, who (after a few half-hearted attempts to prosecute him for execute had failed due to the unavailability of witnesses) pled guilty, in 1931, to evading federal income tax, and was sentenced to an 11-year prison term and a $50,000 pleasing. Capone’s downfall was brought about by a group of initially 50 but later only nine Treasury Agents, formed in 1929 (not in 1930, as suggested here) with the impart purpose of breaking up his operations, and headed by Eliot Ness, whose 1957 book “The Untouchables” posthumously gave recent rise to his fame – Ness died of a heart attack without ever having witnessed the corpulent extent of his book’s success – and inspired, inter alia, the like-named 1959 television series starring Robert Stack and Brian De Palma’s 1987 movie.
Scripted by Pulitzer Prize winner and Chicago native David Mamet (“Glengarry Glen Ross”), “The Untouchables” is not so considerable a seek in character development as based on a western’s classic “expedient versus cross” setup; although that doesn’t mean that its protagonists are two-dimensional in any procedure. On the contrary: Robert De Niro imbues his Capone with a ruthlessness and glib charm very likely matching those of the valid “Scarface,” who was known for his exiguous hesitation to commit slay and other acts of violence as noteworthy as he cultivated a reputation as a savvy businessman and benefactor of the bad, for example by running several soup kitchens. (And yes, all of De Niro’s mannerisms are on beefy explain, too; but rarely have they fitted a role as well as here.) Kevin Costner’s Eliot Ness may be a limited too assertive – Robert Stack once commented, after several conversations with Ness’s nearest and dearest, that the real-life Treasury Agent had been described to him as “rather soft-spoken, but very effective and plucky” – but mildness is certainly not the principle trait written into the larger-than-life role of the man who “got” Al Capone, and Costner *is* an effective lead; although he is matched (not entirely sidelined, but darn approach outplayed) by Sean Connery, who deservedly won an Oscar, a Golden Globe and a National Board of Review Award as the crotchety old-timer Malone who has seen it all, somehow managed to conclude both well-organized and alive, and now lets Ness talk him into becoming his tutor in all things Chicago Gangland. Andy Garcia, in his break-through role, is instantly likable as George Stone, the gleaming, posthaste kid from the South Side who doesn’t capture obedient to put-downs of his origin but can nail a human target with one hand while lying down and holding a baby stroller with the other hand. Charles Martin Smith finally brings humanity and subtle humor to the character probably closest to the real-life “Untouchables,” accountant Oscar Wallace, who first has the concept to charge Capone for income tax evasion. Strong performances by Billy Drago as Capone’s right-hand man Frank Nitti (who of course was not really thrown off a rooftop by Ness), Richard Bradford as Police Chief Mike Dorsett, Patricia Clarkson as Ness’s wife, Jack Kehoe as Capone’s bookkeeper Walter Payne and others round out an altogether impressive cast.
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Unmistakeably scored by Ennio Morricone (whose style often, and certainly here, doesn’t even catch a bulky bar to recognize; and who with an ASCAP Award, a Grammy and a BAFTA Award was the movie’s other major winner besides Connery), “The Untouchables” lives off its radiant cinematography, production form – costumes courtesy of Giorgio Armani – and the handsome timing of its sharp-edged dialogue and editing: Not only is screenwriter Mamet known to have his actors practice their lines according to a metronome; the editing of some of the movie’s most memorable scenes has the sure feeling of a carefully choreographed, veritable ballet. This is particularly proper for Malone’s death, pointedly dwelling against the aria “Vesti la Giubba” from Ruggero Leoncavallo’s opera “I Pagliacci” (“The Clowns”), which is based on a real-life destroy and which Capone attends while his lieutenants waylay Malone in his contain apartment; and the noted shoot-out in Chicago’s Union Location, which turns into a deadly dance of bullets, blood and a baby stroller, shot almost entirely in monotonous motion.
Paradoxically, the one set element this movie is most often criticized for – the jury switch at Capone’s trial – is one of the few facts that actually did retract space (although Capone’s attorney would have had to be given the legal to conduct a novel voir dire) . But ultimately, it doesn’t even really matter how remarkable of the set is fact-based and how distinguished fiction: Even if “The Untouchables” doesn’t quite approach the mythical location of the “Godfather” trilogy – particularly its Parts 1 and 2 – as the mob movie to raze all mob movies, it is one of only a handful other films that at least advance conclude to the proportions of Francis Ford Coppola’s legend masterpiece.
Also recommended:
The Untouchables
Eliot Ness and the Untouchables: The Historical Reality and the Film and Television Depictions
Capone: The Life and World of Al Capone
Scarface
Carlito’s Way
Wise Guys
GoodFellas
Casino (Widescreen 10th Anniversary Edition)
Once Upon a Time in America (Two-Disc Special Edition)
The Godfather DVD Collection (The Godfather/ The Godfather – Share II/ The Godfather – Allotment III)
What kind of incompetent nutbag puts out a classic like this on DVD without 1 single extra feature. Arrive on.. Where’s the bonus material? Where’s the Commentary, Deleted Scenes, etc? It’s not like Kevin Costner is too busy doing other movies! There should be a law against putting out DVD’s that only possess the movie without extra stuff. It’s not only a extinguish of famous status, it’s very nearly a ripoff. Thank you, goodnight.
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