#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – With the vivid memory of his long-gone childhood friends Max, Patsy, and Cockeye etched in his mind, his ferociously loyal partners-in-crime during their rise to prominence in New York’s Prohibition-era Lower East Side, the defeated, penniless, and guilt-ridden former gangster David “Noodles” Aaronson returns to Manhattan. Not knowing what to expect on his mission to shed light on his opaque past, grizzled Noodles reunites with his only living friend Fat Moe after 35 haunted years of self-exile. However, the relentless, piercing sound of culpability stands in the way of finding closure, as the inscrutable content of a well-worn leather suitcase further complicates matters. And now, against the backdrop of a torn conscience, the sad, bittersweet recollections of more than 50 years of love, death, and everything in-between become inextricably intertwined, leading to even more puzzling questions. But what are a man’s options when he is left with nothing?
Plot: A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan over thirty years later, where he once again must confront the ghosts and regrets of his old life.
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|8.3/10 Votes: 330,877|
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A wonderful epic that is really only about one man’s regret – excellent
Noodles returns to the New York of his youth in response to an invitation to come and meet. His return is his first for half his life having fled New York to avoid being killed for ratting out his gangster friends. His return is mysterious and he doesn’t know why he has been summoned. His return sparks memories of his childhood and adulthood growing up in the area with his friends and eventual business partners.
A three and a half hour movie may not be everyone’s idea of fun. On the other hand, many people who see a running time over 180 minutes immediately assume it is an epic that must be `the greatest film ever made’. In this case the time is worth the effort, even if it a little luxurious and overlong. The plot is too sweeping to go into detail, encompassing 30 years in the main part and a further 30 by way of suggestion. Basically it comes down to Noodles memories of his life when he was growing up, up till the point we find him now, as an old man with little but those memories. As a story this is moving and involving. There are maybe too many lingering shots of Noodles staring into the distance but these don’t feel as lazy as they have in other films.
Noodles past and the misery of him now is involving enough, but the main thread is Noodle’s past, both childhood and adulthood in crime and love. The sheer detail that must be covered is well done. The film not only includes many major events but also minor things like the scene where the boy is tempted to eat a cream cake! This mix is very rewarding and makes it feel a lot more detailed than it actually is. The story is a real feel of several generations of crime and is very involving.
The cast make the film and hold the attention during the scenes that are longer than they should be etc. De Niro convinces as youth and bitter old man and holds the eye easily as both. Woods is much better than usual even if his character is the same. McGovern is good considering she has a minor role, but as an `old woman’ she looks the same as she was when she was young. Actors like Williams, Aiello, Forsythe, Hayden etc easily fill out the gangster etc roles without falling into cliché or caricature. Just as rewarding are the child actors who carry the first hour of the film. Not only do they actually look like the actors in question, but they also do a very good job. There are some bum notes but they do mange the innocence of youth with the emotional basis for the rest of the film.
The direction is excellent both gritty streets but with an affectionate slant of Noodles’ memories. The direction is made almost perfect by the use of Ennio Morricone’s score. It is at once haunting but slightly warming and `Debra’s theme’ has become one of my favourite tunes. The overall effect is one of a rich tapestry that eventually weaves into a very personal epic of regret and loss.
An excellent film that deserves to be recognised as both one of the great crime epics but also a personal and moving film.
Corman Writ Large?
I know this must be a good movie — more than a collection of point-blank gun shots, close ups of greasy faces, and crude sex jokes — because everyone tells me so. Therefore, there’s something wrong with me because so many of its purported virtues escape me. Is it that I am actually a terrified anxiety neurotic trapped in this body of a robust, tattooed skinhead? Hmm. Nope. It can’t be that, because for that I’d need the body of a robust, tattooed skinhead. Let me think.
First, this story strikes me as a kind of Kugel gangster story. Sure, the characters all have Jewish names but beneath that we can easily discern the fun-loving, solidary male society of the Italian cowboys on the plains of Spain.
Second, this must be the biggest budget Sergio Leone ever handled, and it must have left him tickled pink. He was already into his 50s and this was his biggest chance. It’s like a Roger Corman gangster movie, only with money and ambition.
Roger Corman never seems to have thought behind the next scene, whereas the length, multi-generational script, and star power of the cast has enable Leone to give this the gloss of nostalgia. Corman wouldn’t have bothered. And to a great extent it works too. There is the score of Ennio Morricone to remind us, lest we forget. Not only do we hear Zamphir or somebody on the Peruvian nose flute or shakuhachi or whatever it is, the score even borrows from the Beatles’ “Yesterday.” So, although it has all the earmarks of Leone — the first 25 minutes have about a dozen words of dialog and they all come in a rush in the last ten — I guess it has some virtues after all. I’m a sucker for nostalgia and male bonding. I’m a sucker too for the thirteen-year-old Jennifer Connolly waltzing around to “Amapola” in a mist of magical dust like something out of a fairy tale, criminal, prompting every man to dream of San Quentin. She’s serene. She seems secure in her own Alice-in-Wonderland beauty, as if in the thrall of a belief that it will last.
It’s a lengthy movie and at times slow. The director uses part of that allotment to give us a couple of grown-up scenes. In one, a doomed man holds a casually ominous conversation with his betrayer standing on the opposite sidewalk. A garbage truck grinds along the street between. When it passes the victim is gone.
In another, Robert DeNiro learns that the virginal love of his life is about to leave for a career in Hollywood. He rapes her repeatedly in the back seat of a limousine while she kicks and screams until the chauffeur, whom we’ve never met, brings the car to a screeching halt in the middle of nowhere and opens the back door. DeNiro stumbles out, arranging his clothes, offers the driver a handful of bills and says, “Take her home.” Wordlessly, the driver goes back to the car, leaving the money in DeNiro’s outstretched hand. The scene undoes a little of the damage done by Tuesday Weld and the array of penises.
Yes, thinking it over, I’ll forgive the adolescent gag of the masked criminals demanding that the sluttish Tuesday Weld identify her rapist by his penis alone. Weld is the whore to Connolly/McGovern’s Madonna. This movie has two kinds of women — whores and Madonnas. The latter you take home to Mamma. The first you adopt as a mistress. You see what I mean? It’s a little hard to squeeze past these calcified clichés.
But, okay. Leone has done one thing he deserves credit for. He tries, for the first time in his career that I’m aware of, to illustrate on the screen a genuine sense of loss, loss of friends and of love, of both men and women, not just through the script but Morricone’s elegiac score and the judicious use of New York locations, and he comes close enough to get a pass.
Original Language en
Runtime 3 hr 49 min (229 min), 2 hr 19 min (139 min) (re-cut) (USA), 4 hr 10 min (250 min) (extended cut), 4 hr 29 min (269 min) (uncut)
Genre Crime, Drama
Director Sergio Leone
Writer Harry Grey, Leonardo Benvenuti, Piero De Bernardi
Actors Robert De Niro, James Woods, Elizabeth McGovern
Country Italy, United States
Awards 12 wins & 12 nominations total
Production Company N/A
Sound Mix Mono, Dolby Digital
Aspect Ratio 1.85 : 1
Laboratory Technicolor S.p.a., Roma, Italy (color)
Film Length 6,279 m (Sweden), 6,305 m (Finland)
Negative Format 35 mm (Eastman)
Cinematographic Process Spherical
Printed Film Format D-Cinema (2012 re-release), 35 mm