Casino De Niro
Casino ein Film von Martin Scorsese mit Robert De Niro, Sharon Stone. Inhaltsangabe: Las Vegas hat zwei Gesichter: das eine ist glamourös, das andere ist. Handlung von Casino Millionen von Dollar werden verdient, als der professionelle Spieler Ace Rothstein (Robert De Niro) und der Mafiakiller Nicky Santoro. Casino: Drama/Thriller/Kriminalfilm/Gangsterfilm/Mafiafilm von Barbara De Fina mit Frank Vincent/Don Rickles/Sharon Stone. Jetzt im.
Mafia-Gerüchte um "Casino"Casino ist ein Kriminalfilm-Drama aus dem Jahr des Regisseurs Martin Scorsese, der das Drehbuch zusammen mit Nicholas Pileggi schrieb. Dessen. appliquewithelly.com: Finden Sie Casino in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von 29€. Der Film Casino (), im Kino ein wahrer Kassenmagnet, scheint Basiert der Film "Casino" mit Robert De Niro etwa auf einer wahren.
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The film's critical profile has increased in years after its release, with several critics expressing that, in retrospect, they feel it is a more accomplished and artistically mature work than the thematically similar Goodfellas.
From Wikipedia, the free encyclopedia. Redirected from Casino film. For the film, see The Casino film. Theatrical release poster.
Nicholas Pileggi Martin Scorsese. Syalis D. Release date. Running time. Archived from the original on January 11, Retrieved February 21, Archived from the original on April 30, Box Office Mojo.
January 19, Archived from the original on February 1, Casino: Love and Honor in Las Vegas. Archived from the original on August 20, Retrieved September 5, De Niro: A Biography.
Scorsese on Scorsese. Las Vegas Review-Journal. Retrieved August 18, Archived from the original on October 28, Retrieved October 28, Retrieved October 19, November 23, Retrieved November 2, August 24, Archived from the original on August 24, Chicago Tribune.
Archived from the original on May 9, Retrieved August 21, Rotten Tomatoes. Archived from the original on December 27, Retrieved March 27, Archived from the original on January 23, I certainly enjoyed the film.
But I don't think that Casino is at all a "perfect" film. An 8 out of 10 may seem high, but if you're familiar with my reviews, you'll know that it's not that high of a score from me--it's closer to average from me.
There are plenty of flaws here, and I'm going to spend some time pointing them out, particularly since the film receives so many 10's.
The hotel became the Tangiers for the film. The mob backs Rothstein but has to set up a false front while Rothstein "secretly" runs the hotel, because of his gambling charges back East.
Meanwhile, mob strong-arm Nicky Santoro Pesci heads out to Vegas to protect Rothstein, but eventually ends up running his own rackets and trying to effectively take over the town.
Casino is the story of the relationship and political problems that this cast of characters and a number of associates run into. It's roughly a gradual road to destruction for everyone involved.
The film is unusual in many ways. The most prominent oddity is that a large chunk of it is told via alternated narration from the two main characters, Rothstein and Santoro.
The aim was probably to include a lot more of Pileggi's book, in a more literal way, than would have been possible through more conventional means.
It's remarkable that the narration works as well as it does, especially because a lot of it is given a rapid-fire delivery.
For at least the first 15 minutes, there is barely a pause in the narrational dialogue. One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening.
He employs a lot of fast cuts while presenting very stylized, documentary-like footage. The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.
This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.
This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.
That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy. All the material is necessary to the story, but it could have been tightened up a lot more.
While I like the songs--I've owned the CD since it came out and I listen to it often enough--and the songs can help set the mood for some scenes, they become a bit too incessant and overbearing for the story after awhile.
It begins to approach the dreaded "mix tape" mentality, where the songs are just there because the director wanted to share some bitchin' tunes that he likes a lot.
A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better. Presumably, Scorsese was shooting for something like a sensory assault, since that's what you get in Vegas.
The visuals are filled with neon lights, flashy clothes I love Rothstein's suits , flashy people and such.
The soundtrack is probably meant to match. But in that case, if I were directing, I think I would have went for a combination of commissioned music that incorporated a lot of casino sounds, or that mimicked a lot of casino sounds--the cacophonous electronic symphony of various machines constantly going through their modes--with schmaltzy show tunes, ala Liza, Jerry Vale, Tom Jones, Wayne Newton, etc.
That Scorsese was trying to give a Vegas-styled sensory assault is also supported by the audio-visual contrast between the Vegas scenes and the scenes in other locations, such as Kansas City.
So I can understand the motivation, but I'm not sure the final result exactly worked. Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods.
The plot and characters are written and performed so that the viewer can see the disasters coming way before the characters can--and that's how it should be.
For example, as a viewer, you know as soon as it starts that it's a bad idea for Rothstein to kowtow to McKenna to win her hand in marriage, but Rothstein is blind in love and he ends up paying for it.
Everything unfolds almost a bit predictably in this respect, and another slight flaw is that we're shown the penultimate moment of the film right at the very beginning.
It tends to make it feel even more stretched out, as you keep anticipating that scene. But the slight flaws shouldn't stop anyone from seeing this film, and of course, quite a few viewers feel that there are no flaws at all.
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