Mobster Showdown: `The Alto Knights` Falls Short

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For quite some time, I’ve been deeply captivated by the historical tales of the Mafia within the United States. Over the years, I’ve delved into numerous non-fiction books and biographies, as well as countless documentaries that chronicled the Mafia’s violent emergence and disreputable decline. These events significantly shaped 20th century America and naturally, I find myself drawn to Hollywood’s iconic portrayals of organized crime – such as “The Godfather”, “Once Upon a Time in America”, “The Departed”, “The Irishman”.

The newest addition to the mob movie genre is “The Alto Knights“, a gripping gangland drama that boasts impressive pedigree. This is Oscar-winning director Barry Levinson’s first major film since his 2015 flop, “Rock the Kasbah”. It was written by Nicholas Pileggi, who at 92 years old has an extensive history in screenwriting, including classics like “Goodfellas” and “Casino”. The lead role is played by Robert De Niro, an Academy Award winner with a long history in gangster films.

Frankly speaking, “The Alto Knights” doesn’t quite measure up to the top-notch mafia movies previously mentioned. This is due to certain minor flaws that hinder its potential (details on those shortly). However, the movie delves into a captivating relationship during an equally intriguing era in the history of the American Mafia. Pileggi’s script suggests thorough research, and Levinson emphasizes adherence to factual accuracy throughout the film.

The film “The Alto Knights” recounts the genuine tale of childhood companions who became gangsters, Frank Costello and Vito Genovese, portrayed by De Niro in the movie. Their early years were spent roaming the streets of New York City, and they both ascended through the ranks under crime boss Charles “Lucky” Luciano. Although they frequently collaborated, their approaches to mob activities diverged significantly. Costello favored amassing power through manipulation, often controlling politicians, judges, police officers, and city officials. On the other hand, Genovese was more inclined to resort to violence and murder as a method for achieving his objectives.

However, strained relationships would develop and grow over time between these two influential figures. Much of this tension stemmed from Vito’s activities in the bustling drug market, which attracted unwanted attention from federal authorities. Yet, a greater source of conflict was Vito’s relentless ambition to hold the position of “supreme leader“. Ambitious by nature, Vito believed he was worthy of the top position, but there was one major hurdle in his path – Frank Costello. After being forced to leave the country due to a murder charge, Luciano took over as acting boss while Costello was imprisoned. Upon his return, Vito started devising plans to seize the title from his longtime friend.

The film begins with Robert De Niro’s character, Frank Costello, entering his apartment building. While waiting for the elevator, Vincent Gigante (played by Cosmo Jarvis) shoots him in the head on Vito Genovese’s (also portrayed by De Niro) orders. Remarkably, this assassination attempt results only in a superficial wound. However, Frank decides to step down from his position due to this incident. Nonetheless, suspicious and increasingly aggressive, Vito doesn’t believe Frank’s sudden retirement motives and remains skeptical.

Starting from a certain point, Levinson delves into the past to illustrate significant events that transformed former companions into powerful adversaries. He eventually reaches the assassination attempt and continues to the subsequent occurrences. Throughout the journey, the film underscores the power dynamics, political intrigue, personal insecurities, and the inevitable brutal nature that are characteristic of this true story. The performance of Debra Messing as Frank’s wife Bobbie, Kathrine Narducci as Vito’s wife Anne, and Michael Rispoli as Albert Anastasia, a feared mob enforcer with strong ties to Frank, add depth to the narrative.

Although the narrative itself is captivating, the method Levinson employs for storytelling feels unsteady at times. Instead of a conventional approach, the tale unfolds like an older Frank’s personal video diary, with him narrating either in a dimly lit room while viewing old slides or speaking directly to the audience from various parks and gardens. However, there seems to be no consistent pattern or harmony among these segments, making them more puzzling than engaging.

In simpler terms, “The Alto Knights” borrows certain elements from other gangster films, which can make it seem predictable or routine. However, it manages to stay engaging throughout, particularly for those who are knowledgeable about its background and characters. Robert De Niro’s dual roles prove to be more than just a novelty, as he brings authenticity and depth to the two intricate characters portrayed. Ultimately, the work of directors Levinson and Pileggi contributes another valuable addition to the mobster film genre.

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2025-03-21 18:57