tieman64
"The classy gangster is a Hollywood invention." - Orson WellesThe 1990s saw the resurgence of the gangster genre ("King of New York", "Bugsy", "Godfather 3", "Miller's Crossing", "Billy Bathgate", "Goodfellas", "Casino", "Dick Tracy", "Heat", "Donnie Brasco", "A Bronx Tale", "State of Grace", "Kansas City" etc). Most of these told fairly familiar tales, with the exception, arguably, of the down-beat "Donnie Brasco" and the off-beat "Kansas City". The 1990s also saw a number of gangster films centering on African-American crime lords ("New Jack City", "Menace to Society", "Dead Presidents" etc), the best of these being "Clockers" and "Boyz n the Hood".Released at the forefront of this cycle was Barry Levinson's "Bugsy". Based on a screenplay by James Toback, the film tells the story of Benjamin "Bugsy" Siegel (Warren Beatty), the infamous American gangster.The plot? It is 1941, and Bugsy has left Brooklyn for Southern California. Assisted by childhood pal George Raft (Joe Mantegna) and local mobster Mickey Cohen (Harvey Keitel), Bugsy sets about expanding his criminal empire. Along the way he meets Virginia Hill (Annette Bening), a Hollywood extra. She's proud, feisty, different, a cocktail which sets Bugsy's heart alight. They fall in love.Warren Beatty specialised in playing doomed romantics ("Splendour in the Grass", "Bonnie and Clyde", "Shampoo", "Reds", "McCabe and Mrs. Miller" etc). In "Bugsy" he plays a guy caught between the barbarism of the gangster, and his own private idealisations. Bugsy dreams of a happy family, of an acting career, of Hollywood stardom, of legitimate business credentials, of assassinating Mussolini, of a life with Virginia, of being a "hero", all fanciful desires which are thwarted by the realities of being a crime lord. This tug-of-war plays out on the local newspapers, in which journalists refer to Siegel - much to his chagrin - by his gangland nickname "Bugsy" rather than "Benjamin", his proper name.The world necessitates Bugsy be a monster, not a dreamer, but these are monstrous necessities which Bugsy quickly loses interest in. "Bugsy doesn't care about money," a fellow crime boss ( Ben Kingsley) says, as Bugsy embarks upon his dream to build a grand hotel in the empty deserts of Las Vegas. Siegel's Flamingo Hotel is originally budgeted at a million dollars, but because of his fanaticism it winds up costing investors six times as much. Unsurprisingly, Bugsy's shot and killed by his business partners. Years later his hotel not only blossoms into a multi-billion dollar industry, but becomes the seed from which the entire gambling city of Las Vegas springs. What other obscenities, the film asks, do neon lights mask?Like most gangster films, "Bugsy" simultaneously romanticises and condemns its central character. Bugsy's nasty, unpleasant, but also likable, doomed, caught in a tragedy from which there is no escape. The film's tone itself veers wildly from farcical comedy to the macabre.How to balance a "normal family life" with "the life of a criminal" is a trite theme common in gangster films ("Godfather", "Goodfellas", "Scarface", "Heat", "Public Enemies" etc). Your typical gangster just can't stop killing cops and bad guys long enough to settle down and please his woman. This is the double helix of the genre: the gangster's obsessed with cash, but never has time for enjoyment. It's a stance mocked in Robert Altman's subversive "Thieves Like Us". For Altman, there's little meaningful distinction between the desires of the criminal and the civilian, and even less distinction between crime, politics and "legal" business.But Barry Levinson is no iconoclast. His Bugsy is yet another gangster constantly hounded by unhappy women, all of whom want his time. What's new in "Bugsy" is that EVERYONE wants a piece of Bugsy. Everyone wants Bugsy to operate on their terms. But Bugsy, a dreamer who refuses to abide, remains steadfast in his convictions. In a moment of Herzogian madness ("I will get that boat over that mountain!"), Bugsy insists that he will build that damn hotel. Nothing will stop him!Unlike most gangster films of the 1990s, "Bugsy" eschews postmodern tricks for an austere, classical style reminiscent of Coppola's "prestigeous" gangster pictures. Though the film indulges in many genre clichés, it handles each in a slightly fresh manner. The film benefits from several fine bit parts (Keitel and Elliot Gould in particular), but mostly it's Warren Beatty who holds things together. Beatty plays Bugsy as a big child, and because he's a bit of a wide-eyed loser (shades of Al Pacino's in "Donnie Brasco"), his Bugsy's all the more endearing. Like most Hollywood "biographies", the film has very little to do with the "real" Benjamin Siegel. It was scored by Ennio Morricone, whose voluptuous soundtrack doesn't quite suit either Levinson's aesthetic or Toback's prose. 7.9/10 – See "Mccabe and Mrs Miller".
MarieGabrielle
A good film, while not classic, engages the viewer and makes them care about the characters. Today in 2013, we see VERY little of this. Upon re-watching Bugsy this past weekend (although it already has hundreds of reviews) It is worth my noting that its more than watchable, has some notable performances (Annette Bening looks lovely, although the accent is a bit off). Beatty while some trite family scenes and mistress vs. family man theme are utilized, is good.I avoid all big blockbuster films because: story is what matters. (Maybe not to the demographic that watches trash reality TV) but, I prefer a good film noir with real actors. "Bugsy" delivers an engaging narrative, and plus we have Ben Kingsley as Meyer Lansky (excellent understated performance).Harvey Kietel, Joe Mantegna, and Elliot Gould also as some of the members of Bugsy's "employees". The sets (especially of Beverly Hills home of Virginia Hill) are lush and interesting. The desert , and the scene of Ben Siegel's (Bugsy's) epiphany that casinos in Las Vegas could be a goldmine for the Mafia and its interests. Of note (and humorous) is Meyer Lansky (Kingsley) intoning that "what Ben is telling us is the desert is a good place to trap people into spending their money"...truer words about speculation and profit motive never spoken!.Bening looks lovely as Mistress Virginia Hill, a Chicago mob accessory who had deep roots in the organization, if you read her true biography. Intriguing character for certain. Miss Bening is an excellent actress, she assumes the role without the awkward false performances we see in some other bit part actors (Bebe Neuwirth for example, is miscast as Countess Difrasso, and lacks authenticity. Most TV regulars do, in a big film which requires sublime performance, they seem cartoon like and ruin the scene.Will not spoil the outcome, suffice to say there is adequate suspense, decent performances and an overall narrative that keeps the audience engaged.Warren Beatty himself engenders some empathy for the character of Bugsy (no easy feat), and while he uses looks to accomplish the persona, it still works. Highly recommended. 8/10.
namashi_1
Barry Levinson's 'Bugsy' is an ambitious, gripping & violent tale on late mobster Bugsy Siegel. Levinson's terrific direction, is complimented by Warren Beatty's fantastic Performance as the late mobster, along-with a Water-Tight screenplay & Striking Cinematography.Warren Beatty stars as 'Bugsy', the late mobster, who quite frankly gave birth to Casino's. This Crime-Drama also explores his love-life, along-with Hollywood Starlet Virginia Hill.James Toback researched Screenplay is Water-Tight and packs in several memorable sequences. Even the dialogue, at times, are wonderful. Levinson's direction like always, is Awe-Inspiring Terrific. Allen Daviau's Cinematography is Striking. Art Direction & Costume Design, are pitch-perfect and worthy Oscar-Winners.Performance-Wise: As mentioned before, Warren Beatty's Performance as Bugsy, is fantastic. The Legendary star becomes Bugsy and talks like him from the very first scene. Annette Bening as Virginia Hill, is convincing, as always. Sir Ben Kingsley plays his part with restrain, while Harvey Keitel is bombastic. Joe Mantegna is effective. Bill Graham does well.On the whole, A Must See Crime-Drama!
