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The Alto Knights: A New Chapter in Mafia Cinema
The world of organized crime, particularly the renowned mafia or Cosa Nostra, has served as a rich backdrop for some of cinema’s most memorable stories. One of the key figures in transforming these narratives into compelling films is Nicholas Pileggi, whose collaborations with icons such as Robert De Niro, Joe Pesci, and director Martin Scorsese have left an indelible mark on the genre. Their latest venture, The Alto Knights, reunites Pileggi and De Niro with producer Irwin Winkler and director Barry Levinson, culminating in an exploration of mob tales that have defined the landscape of American film.
The question arises: how does The Alto Knights serve as a definitive conclusion to the extensive storytelling by these talented individuals over the decades? In an exclusive interview, Pileggi noted that “This movie is… the end of that world. And the depiction of these two men fighting it out in the end is what brought the mob to its knees.”
In The Alto Knights, De Niro takes on the challenge of portraying both Frank Costello and Vito Genovese—two legendary figures who, while often sidelined in previous portrayals, were prominent leaders during the peak of Cosa Nostra.
Imagine the power dynamics within the mafia world; if every mob tale you’ve encountered featured an overarching boss, it would typically point to either Costello or Genovese. Together, they navigated the mafia hierarchy alongside other influential names like Tommy Luchese, witnessing both the rise and eventual decline of their empire. According to Pileggi, understanding these historical contexts is vital: “I’ve done three movies on the mob, in a way in its history. The first was ‘Goodfellas’, capturing the beginnings when ambition and youth drove many into the underworld. The second was ‘Casino’, illustrating how the mob’s greed led to their own downfall as they mismanaged their obtained wealth. The Alto Knights marks the conclusion of that era.”
This conclusion is richly articulated within the film’s narrative, particularly through a powerful monologue delivered by De Niro’s Costello. He reflects on the immigrant experience, noting that by the time his generation arrived, the land and resources in America had already been claimed by earlier settlers. While those who came before built fortunes through land and industry, the later wave of immigrants had to adapt to a landscape stripped of opportunity. The ensuing conflict between Costello and Genovese ultimately precipitated the mafia’s collapse: “The Mob started in the early 1900s, it went through prohibition, and it ended when Frank Costello fails to arrive at Appalachia, and they all get arrested, and they are exposed for the first time as quote, organized crime, Cosa Nostra, the mafia, and they’re exposed on the front page of the papers, and even the FBI has to acknowledge that they existed,” Pileggi elaborates.
De Niro’s Dual Role
A distinctive element of The Alto Knights is De Niro’s portrayal of both central characters. Producer Irwin Winkler shared that when adapting the script, he envisioned no one better suited for the roles than De Niro himself. “Nick (Pileggi) didn’t write it specifically for any one actor. He wrote two really interesting characters. I gave the script to Bob (De Niro). He called me, and he said that he liked the Costello character, and who did I think could play Genovese. I frankly couldn’t think anybody better than De Niro,” Winkler stated, reflecting on the actor’s unique capability to immerse himself in multiple roles.
De Niro, renowned for his extraordinary acting range, has had a successful history working with Winkler, Levinson, and Pileggi. His dual performance in The Alto Knights not only allows him to push his artistic boundaries but also showcases his talent in character transformation through the use of makeup and prosthetics, ensuring audiences are fully engaged and may forget they are watching the same actor play two pivotal roles.
Release Date
March 21, 2025
Source
movieweb.com