‘The Alto Knights’ Review: Sprawling, Richly Detailed Mafia Saga Serves Up a Double Helping of Robert De Niro

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If you’re going to take a shot at the king, you’d better not miss.

The aphorism, attributed to various figures including Ralph Waldo Emerson and Omar from “The Wire,” might also resonate within the clandestine codes of “The Alto Knights,” an intense and captivating collaboration among prominent names in modern mafia storytelling: Nicholas Pileggi, who co-wrote “Goodfellas,” Barry Levinson, director of “Bugsy,” and acting legend Robert De Niro, taking on a dual role. This unique twist offers an intriguing premise — surpassing the famous Pacino-De Niro encounter in “Heat” by presenting two De Niros as underworld associates turned adversaries, Frank Costello and Vito Genovese, portrayed by him under layers of makeup.

The film starts unexpectedly in 1959, opening with a botched execution taking place in the lobby of Frank’s New York apartment building – a tense, impactful scene that showcases Levinson as an experienced director. (Skipping over comparisons, it’s refreshing to see a director of his age handling his job competently after the chaotic ineptness of Francis Ford Coppola’s “Megalopolis”.) The remainder of the story is told from a future perspective, as Frank isn’t dead but plans his revenge. Remarkably, the bullet grazes Frank’s skull and curves around his head, and although he identifies the assassin as one of Vito’s henchmen (Cosmo Jarvis portraying “The Chin”), he adheres to the code and keeps silent about it with the authorities.

As a seasoned movie critic, I must say that “Vito” has brazenly breached one of the most fundamental tenets – never retaliate against fellow bosses. The repercussions of such a transgression would undoubtedly be severe, yet “Frank” exhibits an unusual restraint, showing no inclination to fuel more bloodshed. Instead, he meticulously plots his vengeance, a strategy that eventually compelled the U.S. government and media to acknowledge the clandestine world of the mafia – a revelation that seems almost unbelievable given Hollywood’s penchant for dramatization, yet this astonishing tale remains untold until now.

Over several decades, ‘The Alto Knights,’ as depicted by Pileggi, delve into the story of a morally questionable immigrant gang that capitalized on Prohibition – a law that few supported and which enforcement was reluctant. Frank humorously labels it as a policy that no one wanted to adhere to and was difficult for authorities to enforce. Initially working under Charlie “Lucky” Luciano, they started at the bottom but eventually rose through the ranks to reach the Commission, the highest echelon of the Cosa Nostra.

Initially, when Levinson goes back to the early days of Frank and Vito, the show gains credibility by showing old black-and-white images, cleverly incorporating the cast into them. These scenes remind one of other gangster films, such as “Once Upon a Time in America” and “The Godfather Part II,” which feature De Niro, and depict the humble beginnings of future leaders. For a while, Frank and Vito were like brothers, yet it was Vito who had the fiery temperament, which explains why the Sicilian-born Vito left the country to avoid a murder charge, leaving his part of the business with Frank during his absence.

Initially, the sequence of events might be confusing due to the similarity between Frank and Vito. While Frank is characterized by a long fake nose and no mole, Vito is identified by his square jawline and dark sunglasses. Given that they appear at various stages throughout their lives, it can take a while to discern who Robert De Niro’s character is in each scene. However, as the movie progresses, the actor skillfully develops two separate characters, resembling (though more subtly drawn than) the Kray twins portrayed by Tom Hardy in “Legend.” This distinction becomes clearer over time.

Nestled in a Central Park penthouse, I’ve always been about maintaining an air of legitimacy amidst a world of questionable characters – politicians and corrupt cops who find my presence beneficial. I help fill their coffers, but they turn a blind eye to my activities – yet, I remain distinct from them. The narrative presents me as the honorable one, a title underscored by my long-standing marriage (portrayed by Debra Messing, playing my Jewish wife Bobbie). Our relationship, marked by monogamy and mutual support, is a rare gem in the genre of mobster movies.

Simultaneously, Vito, who’s known for his quick temper, keeps his heart more connected to the streets. He openly expresses his disdain towards Frank’s attempts to distance themselves from their origins, but is particularly upset with his longtime companion for not offering him a larger share of the pie upon his return from overseas, where he controls lower Manhattan through blood and firepower. Few screenwriters seem to understand the organized crime world as well as Pileggi does, and while he sometimes skims over some motivations, he more than makes up for it by adding intricate, indelible details to his vast, epic story – such as the instance where Vito stages a humble New Jersey house to convince reporters that he’s an ordinary man.

In his younger days, De Niro infused several Martin Scorsese productions with an edgy, erratic vitality. However, in “The Alto Knights”, a different picture is presented by Levinson and the team. Instead of portraying the mafia as a fearsome, powerful entity, they depict them as a group of elderly, bickering individuals, often squabbling over trivial matters. Vito is consistently involved in these disputes, frequently expressing outrage towards the TV screen whenever Frank testifies before Senator Estes Kefauver’s committee. The exchange between the two De Niros about taking the Fifth Amendment turns into a repetitive dialogue reminiscent of the “Who’s on First” routine, with editor Douglas Crise skillfully bouncing their interactions back and forth.

In the realm of timeless cinematic masterpieces, witnessing the tense courtroom face-off between Vito and his former spouse Anna (played by Kathrine Narducci) is an unforgettable spectacle. Anna’s choice to hurl insults in court might seem clever, but little does she know, it’s a risky move given Vito’s volatile nature.

While the movie is filled with brutal killings and jaw-dropping moments captured beautifully by DP Dante Spinotti, “The Alto Knights” carries an unglamorous, gritty tone that sets it apart from typical gangster films. This tone is perfectly encapsulated in Robert De Niro’s subdued performance – his slouched shoulders and shuffling walk exude a sense of melancholy. Yet, behind those eyes, Vito remains as lethal as ever, a relentless shark lurking just beneath the surface.

Instead of “The Irishman” using computer-generated imagery (CGI) to unconvincingly de-age its cast, causing distractions that interfered with their performances, this movie uses prosthetics and makeup to transform De Niro as necessary. This method is more effective because it minimally disrupts the maestro’s performance(s), allowing for the actor to appear opposite himself in certain scenes using an illusion known as sleight of hand. Any doubts about De Niro’s greatness are dispelled during these face-to-face confrontations, as no other star could have matched his effectiveness. These surreal staring matches transcend the two characters and encapsulate De Niro’s entire filmography, suggesting that there is no retirement for him, only audacious late-career risks from a seasoned professional gambler.

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2025-03-19 19:21