Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!
It has been a little forgotten, hasn’t it, that little gangster flick called Donnie Brasco (1997)? It hasn’t anything as iconic to offer as The Godfather‘s ascent to power or The Godfather: Part II‘s empty shell of a mob boss, although it does have Al Pacino at its center, too. It’s not a Scorsese-style hellride that could make us like or at least weirdly admire the hard men of organized crime we are supposed to condemn outside of a movie theater.
In cinematic terms, I sometimes wish I’d already been around during the 1970s. It’s the big films of that decade that I most regret seeing at the cinema. Thank god for good repertory cinemas, though: thanks to my favourite rep cinema, I’ve been able to see the likes of Apocalypse Now on the big screen – and the theatrical experience definitely makes a difference in terms of how potent these classics are.
Last week, as part of a series on migrants (which includes such different fare as Jan Troell’s The Emigrants and The New Land and Neill Blomkamp’s District 9), I was finally able to see Francis Ford Coppola’s The Godfather Part II on the big screen. The film is gorgeous to look at, with Gordon Willis’ Rembrandtesque cinematography an absolute triumph, and it’s a joy to see Pacino and De Niro in peak form, their acting specific and nuanced and entirely unlike the personas we’ve seen them embrace all too often since. The way I watch the film has changed in other ways as well, though, and these have nothing to do with the big-screen format. That difference is due to me having watched the entirety of The Sopranos in he meantime.
Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!
A car rides into darkness. The film cuts to the three passengers and we hear noise from the back of the car.
“The f*&k is that? … Jimmy?” says the man behind the wheel. “Did I hit something?”
“… the f*&ck is that?” the man in the back says. They pull over and get out. Lit by the red back light of the car the men draw their weapons. The man in the trunk is bloodied but still alive. Swearing, they finish him off. They are Henry, Jimmy and Tommy, our protagonists.
After this violent beginning Henry’s voice-over starts with what is probably the most famous line in the movie:
“As far back as I remember, I always wanted to be a gangster.”