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Jingle Bells Power Reels. Secrets of Christmas. Popular Games. CasinoEuro Megaways. Live Roulette Lobby. Rick and Morty wubba lubba dub dub. 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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They also decided to simplify the script, so that the character of Sam "Ace" Rothstein worked only at the Tangiers Casino, in order to show a glimpse of the trials involved in operating a Mafia-run casino hotel without overwhelming the audience.
The scene was too detailed, so they changed the sequence to show the explosion of Sam's car and him flying into the air before hovering over the flames in slow motion—like a soul about to go straight down to hell.
Filming took place at night in the Riviera casino in Las Vegas, with the nearby defunct Landmark Hotel as the entrance, to replicate the fictional Tangiers.
According to the producer Barbara De Fina , there was no point in building a set if the cost were the same to use a real-life one.
Several edits were made in order to reduce the rating to R. Casino was released in theaters in the United States on November 22, Upon its release, the film received mostly positive reviews from critics, although their praise was more muted than it had been for the thematically similar Goodfellas , released only five years earlier, with some reviewers criticizing Scorsese for retreading familiar territory.
The site's critical consensus reads, "Impressive ambition and bravura performances from an outstanding cast help Casino pay off in spite of a familiar narrative that may strike some viewers as a safe bet for director Martin Scorsese.
Roger Ebert gave the film four out of four, stating that "Martin Scorsese's fascinating new film Casino knows a lot about the Mafia's relationship with Las Vegas.
Like The Godfather it makes us feel like eavesdroppers in a secret place. He gave the film five stars commenting "It may not be Scorsese's greatest work, but this guy feeling a little off-colour is still far, far better than most people on fighting-fit form.
It only gets more impressive as time goes on. 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.
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