(Part of Hyman Roth’s [Lee Strasberg] last words in The Godfather Part II
[Francis Ford Coppola, 1974], a character clearly based on Meyer Lansky)
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) whenever they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative. This week, though, I’m posting a bit later than normal because a good bit of my usual creative time was taken up with time-consuming-yet-necessary-mundane-tasks of switching from increasingly-frustrating AT&T U-Verse to Comcast Xfinity TV, then learning how to properly drain a hot water heater (run the hose outside, not into your bathtub; start it downhill, then flat at ground level; much more). More pleasantly, this Wednesday usually devoted to posting into the night was instead spent with my marvelous wife, Nina Kindblad, celebrating our 31st wedding anniversary (I'm wearing the same shirt from our ceremony—although with about 25 more pounds of me in it) so I hope you’ll indulge me in getting these cinematic comments out a bit farther into Thursday this week.
Lansky (Eytan Rockaway) rated R 120 min.
Opening Chatter (no spoilers): As I’m still making streaming-choices over theatrical-attendance until I get more confident that my old-man/fully-vaccinated body won’t be facing likely threats from the increasingly-active COVID-variants, I found few options of much interest this week, with even the mega-debut of F9: The Fast Saga (Justin Lin) as Vin Diesel, John Cena, Michelle Rodriquez, Chris “Ludacris” Bridges, and others (including Kurt Russell, Helen Mirren, and Charlize Theron) not enough to lure me back into a maskless, stranger-filled-auditorium (although such an attraction worked quite well for tens of thousands of global spectators). I was about to take the week off, just enjoy our anniversary, when the possibility of seeing/reviewing Lansky (not to be confused with a TV movie of the same name [John McNaughton, 1999], same content, starring Richard Dreyfuss) came up unexpectedly, so I watched it, will now share my reactions. While it’s essentially a fictional story about a writer desperate for a hit book given the chance to interview in-depth a famous mobster, what’s recounted seems mostly true given some biographical info I’ve since checked out regarding this successful Eastern European immigrant who began his criminal work as the Roaring Twenties turned into the Great Depression, continued to build his success, fame within the upper echelon of The Mob, and financial rewards well into the 1970s before retiring in Miami, dying in 1983. You can find this movie—with a great starring performance by Harvey Keitel—on several streaming platforms for cheap rental, including Amazon Prime and Apple TV. However, in giving it 3½ stars that makes 9 in a row with that rating from me (!), so I’m hoping to go up or down from that next time out. Also, in the Short Takes section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, most tedious software!) along with that standard dose of industry-related-trivia.
Here’s the trailer for Lansky:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: While the contemporary story in this movie’s set in the early 1980s, there are many flashbacks to extensive aspects of Meyer Lansky’s life (1902-1983) so let me just establish what happens in the movie’s present, then shift back to a chronological account of what this famous mobster’s telling to a writer who needs a hit publication even as the FBI is putting pressure on him to pass along whatever he’s learning from Lansky, especially about a supposedly-hidden $300 million. Lansky (Harvey Keitel), retired in Miami, contacts David Stone (Sam Worthington), encourages him to come to Florida where they’ll meet in a coffee shop as this notorious (but rarely indicted/jailed) figure will provide David with intimate details of life with The Mob but with Lansky determining what can be in the book, along with the demand it not be published until after his death (seemingly this collaboration's a meeting of the minds because Lansky’s a student of history, Stone’s intrigued by complicated people; David’s situation is complicated as well: he’s separated [somewhat similarly, Lansky’s married for years to Anne {AnnaSophia Robb} but she’s disgusted by his work even as she accepts the lavish lifestyle it provides; eventually he pushes her away with forced electroshock “therapy,” followed by divorce] but has a daughter, needs the book to be a big hit to cover the kid’s medical expenses [Lansky can relate here as well, he has a son with cerebral palsy]—a further complication comes when David meets Maureen Duffy [Minka Kelly] at his motel, gets involved with her, later she tells him she’s working with the FBI to see what he’s learning from Lansky, then skips town for good). Meanwhile, FBI Agent Frank Rivers gets wind of these meetings with Lansky, goes to Miami to put pressure on Stone to find out where Lansky’s rumored to have stashed all that cash, threatening to leak to Lansky that Stone’s been sharing the revelations with the Bureau (he hasn’t) if he doesn’t cooperate, a threat David knows will lead to his death so he tries his best to do what he’s told, yet keeping his enforced-connection with the Feds from Lansky’s knowledge, tensions growing.
With all that ongoing plot in mind, let’s turn now to what Lansky reveals to Stone in their frequent encounters. Born in what’s now Belarus, as a boy he immigrated with family to NYC, early on made friends with Benjamin “Bugsy” Siegel who became the brawn to Meyer’s brains in their earliest criminal enterprises during Prohibition (Lansky as a young man played by John Magaro, Siegel by David Cade); as youths (Lansky always fueled by rage, determined to control whatever “game” he’s involved in) they also met Charles “Lucky Luciano (Shane McRae) who’d aid them later as his stature grew within the deadly Mob, which became the National Crime Syndicate (NCS) in 1929, a conglomerate of Italian, Jewish, and Irish “families,” their fierce hitmen squad known as Murder, Inc.
Following Prohibition's end, Lansky focused on gambling, especially in Florida, New Orleans, and Cuba but insisted on no skimming by the house (profits were already high enough) so he was well-respected by all, tourists and thugs alike. As WW II approached, Lansky’s goons broke up rallies by pro-Nazi German-Americans; during the war he and other mobsters rooted out German infiltrators for the U.S. government as well as providing security for warships being built in NYC docks, activities that helped him gain release from prison for Luciano. After the war The NCS Council decided Siegel’s management of the Flamingo Hotel and Casino in Las Vegas was resulting in too much lost income so, after attempted interventions by Lansky, in 1947 “Bugsy” was terminated. Then Lansky and Luciano focused on growing their empire in Havana with the aid of dictator Fulgencio Batista, until Fidel Castro’s rebels took over in early 1959 (much as it was depicted in The Godfather Part II). ⇒By 1970 Lansky attempted to establish residence in Israel (in return for his financial/armaments support as the country established its existence against the Palestinians in 1948) but was deported back to the U.S. in 1972 because of his past criminal activities (a major difference in The Godfather Part II where Michael Corleone has Hyman Roth killed as he lands at the Miami airport in 1960). Although he claimed to have little financial resources in his years of retirement, Lansky was always rumored to have that $300 million stashed away somewhere, but it’s never been found, Agent Rivers was pulled off his quest as nothing he learned from his pressure on David Stone resulted in anything the government could do to indict Lansky nor recover any money—although when Rivers pushed David to get info on Lansky’s banker in Geneva, the man suddenly died in a car wreck 2 days later so it’s clear Lansky still had pull when he needed it. Lansky, aware he was dying when meeting with David, is soon dead himself from lung cancer after these events, with the last shots being of him alone on a beach. Lest we get too sanctimonious about gangsters, though, pre-credits graphics note gambling contributes $250 billion to the U.S. economy annually, employing about 2 million people.⇐
So What? As long as they’re well-made, I’m a great fan of gangster movies, from the beginning of the sound-era-version of the genre (D.W. Griffith used hoodlum-characters in the dawning-days of 20th century-silent-cinema) in the early 1930s-late ‘40s—with Edward G. Robinson, James Cagney, Humphrey Bogart—to the much-more-recent-masterpieces of this type done by Coppola and Martin Scorsese. It’s not that I eagerly yearn for the chance to root for the lawbreakers (although I do tune in to the intended sympathy for the bank robber/killer-protagonists of Bonnie and Clyde [Arthur Penn, 1967] but largely because I know these 1930s outlaws are seen as heroes by the downtrodden/ dispossessed/demeaned “forgotten” people of the Depression-era, along with being metaphors for the counterculture “bohemians” [which I mildly tried to include myself among] standing up against the heartless/authoritarian “Establishment” of the 1960s when that film was released), it’s more the fascination of seeing what drives people who obviously have some combination of intelligence/ determination/courage to choose a life of crime when their talents could easily take them to the top of the so-called-legitimate-world, where they could become fabulously-rich-businesspeople then act like gangsters anyway with their massive tax breaks, outsized political influence, luxury lifestyles. Of course, when gangsters are the protagonists in their stories, if they’re to be understood as being the characters we want to see survive—even as common villains rather than anti-heroes—they’re often in the realm of extenuating circumstances: deplorable conditions from which there’s little hope of escape down the righteous path or corrupt lawmen who give no reason for them to join “above-ground” society or they're in comparison to even more ruthless gangsters, as in The Godfather trilogy (1972, 1974, 1990) who make our lead crooks look like decent citizens by comparison. (Of course, there are some crime movies where the protagonist is just a dangerous maniac who needs to be put down for the good of all that could ever hope for decency—Cagney as Arthur “Cody Jarrett” in White Heat [Raoul Walsh, 1949], Al Pacino as Tony Montana in Scarface [Brian De Palma, 1983].)
With all of that in mind, I am a bit fascinated with Lansky because it gives me a quick, useful dose of information about one of the leading criminal minds of the past century, presented in such a way that a lot of facts can be woven into a standard 2-hr.-cinematic-format using the plausible device of this grand old man of The Mob dictating his autobiography to a willing listener ready to turn the story into a best-selling-book, even if I assume the David Stone character is simply a fictional construct to allow Lansky to move us along quickly throughout his semi-clandestine-career (it’s not that the Feds didn’t know who he was or generally what he was doing, they just couldn’t make it stick with arrests, convictions) where Lansky tells Stone The Mob was truly a thriving capitalist enterprise, or, as Roth famously puts it to Michael Corleone (The Godfather Part II): “Michael, we’re bigger than U.S. Steel.”
Of course, if you don’t want to spend a full 120 min. getting the Lansky story you can essentially accomplish the same thing regarding the facts of his life by going to his 2-part-video-bio as the third and fourth items connected to this movie in the Related Links section of this posting farther below where you can get the same info in about 26 min. (with some clever uses of seemingly-connected-footage from various gangster movies to illustrate some of what’s being said in the narration; for me this works better than most feature-length-docs of actual gangsters which always seem to just be extended-versions of that newspaper-photos-montage of various dead mobsters in The Godfather after Sonny Corleone [James Caan] declares war on the other NYC Mafia after the assassination attempt on his father, Vito [Marlon Brando]). I’d recommend a visit to Lansky anyway, though, just to appreciate the acting qualities that Keitel brings to the title role, always a pleasure to see him, which I haven’t done since the last great Mob film I’m aware of, The Irishman (Scorsese, 2019), still my choice for Best Picture that year even though Oscar voters decided otherwise (Parasite [Bong Joon Ho]); in a bit of irony, Keitel’s only Oscar nomination is for Best Actor in a Supporting Role for Bugsy (Barry Levinson, 1991), focused on Lansky’s long-time-associate, "Bugsy" Siegel (played by Warren Beatty; Ben Kingsley played Lansky), so at least if you watched a double feature of Lansky and Bugsy you’d have a fairly-complete-look at this memorable pair within the National Crime Syndicate.
To round it off, though, you’d need to return once again to The Godfather Part II where Roth is chastising Michael who’d asked who gave the order for a hit on someone in his "family," explaining in detail about Roth’s protégé, Moe Greene (Alex Rocco)—clearly based on Siegel—who was killed (by Michael’s order as part of his massive revenge at the dramatic, bloody conclusion of The Godfather), yet Roth counters with “I let it go. And I said to myself, this is the business we’ve chosen; I didn’t ask who gave the order, because it had nothing to do with business,” which sounds exactly like Lansky to me (although it’s another bit of irony because in real-life apparently Lansky eventually went along with The Mob’s decision to terminate Siegel). Whether or not you decide to see Lansky, I’d certainly encourage you to watch that mini-documentary on “The Mob’s accountant” I noted above in Related Links: it’s concise, informative, ultimately a useful footnote to Lansky—or worthwhile in its own right.
Bottom Line Final Comments: Had I just been making my viewing decisions based on OCCU responses—where Rotten Tomatoes critics gave this film a tepid 50% positive reviews while those at Metacritic are even lower with a 42% average score—I’d likely have passed on Lansky, but it got a more-encouraging-consideration from a local San Francisco-area-critic in his weekly radio-wrap-up, so with nothing better to compete with it plus an ongoing respect for Keitel (who should be on the screen quite a bit in the near future with 4 projects in pre-production, another 1 announced) I made my streaming choice of Amazon Prime for a $6.99 rental (the same at several other platforms; see JustWatch for options), found this movie considerably more enjoyable that those critics-accumulation-sites would lead you to believe, and still feel I made a better (and cheaper, given theater prices) choice than watching testosterone fly all over the screen in F9 …, no matter how humongously-successful it is now ($70 million domestically [U.S.-Canada], $405.6 million worldwide already), but if what you want is jaw-dropping-action you’d likely be better off with Vin Diesel and company because there’s only a minimum amount of murder in Lansky, although those who turn to life-guidance from such “renowned” figures as Roy Cohn or Roger Stone might well appreciate this huge dose of denials, lies, manipulations, and ill-gained-financial-windfalls characterizing the life of Meyer Lansky, a guy who was situationally-honest, admired by his contemporaries (largely because he made lots of money for them), but claimed to the law that he knew nothing about organized crime.
Therefore, it seems the only likely options for my standard tactic of closing out a review—that is, the use of a Musical Metaphor—would be the 2 famous versions of different songs with almost the same name: the first, “Money (That’s What I Want) by The Beatles (written by Barry Gordy and Janie Bradford, the first Motown hit; Beatles version on their 1963 U.K. album With The Beatles, 1964 U.S. The Beatles’ Second Album) at https://www.youtube.com/watch?v=_awAH-JJx1k (miserable video but it gives you the true sense of Beatlemania, although sadly no closeups of John Lennon) with its blunt statement of “Money don’t get everything, it’s true What it don’t get, I can’t use,” followed by a more-detailed-analysis of this phenomenon in Pink Floyd’s “Money” (1973 The Dark Side of the Moon album) at https://www.youtube.com/watch?v=Kjgwjh4H7wg (2005 reunion performance) where you’re encouraged to “Grab that cash with both hands and make a stash […] Money, it’s a crime Share it fairly, but don’t take a slice of my pie,” an attitude that kept Meyer Lansky successfully alive for decades even as so many associates of his went to their various non-monetary rewards. (I've used this song pair before; sadly, there's so much filmic-materialism to be addressed.)
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Thursday July 1, 2021
2:00 PM The Best Years of Our Lives (William Wyler, 1946) A highly-deserving Best Picture Oscar winner (along with a cluster of others including Best Director, Actor [Frederic March], Supporting Actor [Harold Russell], Adapted Screenplay, Film Editing, Scoring of a Dramatic or Comedy Picture, plus an Honorary Oscar to Russell, an actual WW II vet amputee), focused on the difficulties of 3 returning G.I’s each with individual problems (a marvelous example of deep-focus-cinematography by Gregg Toland; I once got a chance to talk with Wyler about his intentions with this visual style).
Saturday July 3, 2021
9:00 AM Strangers on a Train (Alfred Hitchcock, 1951) Acclaimed thriller where tennis star Guy Haines (Farley Granger) wants to be rid of his promiscuous wife, marry someone else, so he arranges with Bruno Antony (Robert Walker) to kill her in exchange for Guy killing Bruno’s father, given neither has motive for such crimes so they won’t be suspected. Bruno completes his end of
the deal, but Guy hesitates to do the same so Bruno continues to put blackmail pressure on him.
1:00 PM The Third Man (Carol Reed, 1949) Best pairing of Orson Welles and Joseph Cotton outside of Citizen Kane (Reed’s film as one of my few 5 stars-ratings-reviews, after seeing it again on re-release). Cotton’s a pulp writer come to Vienna looking for old friend Harry Lime (Welles) but hears he’s dead from an auto accident; Cotton suspects otherwise, given Harry’s underworld activities.
As fabulous as are all the other elements of this film (won an Oscar for B&W Cinematography, was nominated for Director, Film Editing) is Anton Karas’ great score, played memorably on the zither.
3:00 PM Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Loosely based on the history of Old West outlaws gang-leader Butch (Paul Newman) and marksman Sundance (Robert Redford) who eventually go to Bolivia with the Kid’s lover (Katharine Ross); fate awaits. Nominated for Best Picture, Director, Sound Oscars, won Best Original Screenplay (William Goldman), Cinematography, Original Score, Original Song (“Raindrops Keep Fallin’ on My Head,” career-builder for B.J. Thomas).
5:00 PM The Misfits (John Huston, 1961) In its own way a bit of a swan song for Old Hollywood,
with script by Arthur Miller, direction by Huston, the final screen appearances of Marilyn Monroe and Clark Gable, one of the last by Montgomery Clift (Thelma Ritter and Eil Wallach are in there too), sort of a western but set in contemporary Nevada with interpersonal angst, drunkenness, desperation among the starring characters. A flop in its time, much more highly regarded today by the critics.
Sunday July 4, 2021 (Happy Independence Day!)
11:30 PM Paris, Texas (Wim Wenders, 1984) Marvelous story: a man (Harry Dean Stanton) who's
physically/mentally lost for a time wanders back out of the desert, reunites with his young son, goes to Houston seeking his ex-wife (Nastassja Kinski), now a stripper at a peep-show club; excellent renderings of American situations by a German director (don’t worry; it’s in English)—connective for me because my Dad was born in Paris, TX. Won top prize Palme d’Or at the Cannes Film Festival.
Wednesday July 7, 2021
7:45 PM Picnic (Joshua Logan, 1955) About as melodramatic as they come, yet my dear wife loves it so I’ll give it a plug. William Holden’s a drifter arrived in Kansas by freight train to look up an old college friend (Cliff Robertson) but finds himself involved with the guy's girlfriend (Kim Novak), leading to big trouble; a funny/sad parallel plot involves an “old maid” schoolteacher (Rosalind Russell) and the man she pushes into marriage (Arthur O’Connell)—Verna Felton, Susan Strasberg also have key roles. If nothing else, go about halfway into it for the steamy “Moonglow” dance by Holden and Novak, or watch the whole thing, count how often he calls her “Baby.” Oscars for Best Art Direction – Color, Film Editing, noms for Best Picture, Director, Supporting Actor (O’Connell).
9:45 PM East of Eden (Elia Kazan, 1955) James Dean’s screen debut as Cal Trask, a WW I-era young man living near Monterey, CA trying to win the love of his stern father, Adam (Raymond Massey), who gives more support to other son Aron (Richard Davalos), adapted from the stunning John Steinbeck novel (with its intended Biblical overtones). Even when Cal makes a fortune for Dad he’s rejected so he shames Aron by revealing Mom (Jo Van Fleet) isn’t dead after all but lives nearby, running a brothel. Won the Oscar for Best Supporting Actress (Van Fleet); Dean (already dead by the time of the awards) was nominated for Best Actor (as he was for his last, Giant [1956]).
If you’d like your own PDF of the rating/summary of this week's review, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: (1) F9 makes a big splash but can other intended summer blockbusters also draw big crowds? (2) Netflix says Fatherhood (see review in our June 24, 2021 posting) will be seen in 61 million households, 82 countries within its first month in release. As usual during the pandemic I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
We encourage you to visit the Summary of Two Guys Reviews for our past posts.* Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage. If you’d like to Like us on Facebook please visit our Facebook page. We appreciate your support whenever and however you can offer it!
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Here’s more information about Lansky:
https://www.imdb.com/title/tt5078852/?ref_=nv_sr_srsg_0 (best I could do for an official site)
https://www.youtube.com/watch?v=1UNJTPtmZhI (4:53; 1971 interview with Meyer Lansky when he was in Israel) plus https://www.youtube.com/watch?v=x6NL9n2LYUY (12:10 mini-biography of Meyer Lansky, Part 1 [interrupted by ads at about 5:40, 8:20]) and https://www.youtube.com/watch?v=-aNd8ipvBTQ (13:58, Part 2 [interrupted by ads at about 5:00, 8:48])
https://www.rottentomatoes.com/m/lansky_2021
https://www.metacritic.com/movie/lansky
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never tire of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
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