The Alto Knights: Robert De Niro Plays Antagonists in a Mafia Film That Lacks Spark
Directed by Oscar winner Barry Levinson (Rain Man, Wag the Dog, Diner), it has a screenplay by Nicholas Pileggi, who has written some of the best and defining movies in that genre (Goodfellas, Casino, The Irishman). And it stars Robert De Niro in two roles. It’s a dream combination.
And while there is pleasure to be had in watching De Niro play opposite De Niro, an overly detailed plot gets in the way, making it a listless and frustrating watch.
The Alto Knights is based on the true story of the feud between the two most powerful mob bosses of the 1950s: Frank Costello and Vito Genovese, both played by De Niro.
Growing up in New York's Little Italy, Costello and Genovese — Italian immigrant kids and best friends — hang out in a social club frequented by members of the mob. They both joined, but as they got into adulthood, the differences between the two, in personality and temperament, became increasingly clear and divisive.
Genovese was aggressive and violent. Costello was reserved, less interested in being a tough guy and more about making money in civil ways. Influenced by his wife Bobbie (Debra Messing), he’s also drawn to living a quiet life and being seen as a legitimate businessman.
When Genovese gets in trouble and has to leave the country for a period of time, he passes the top job to Costello, but makes it clear that when he comes back, he expects to get a cut of the operation.
Years later he returns to find that Costello has become wealthy and steered the “family” to success and moved into more legitimate ventures like the hotel business. When the two meet, Genovese reminds Costello of their deal, but too much time has passed. Costello rejects Genovese’s ambitions and desire to add drug dealing to the business.
Genovese, angry and jealous of Costello, sees his old friend as a rival and orders a hit on him. That fails but begins a battle between the two men that stretches over years, and leads to the fall of the mafia by the end of the fifties, that also reveals how widespread organized crime’s tentacles have become in the American fabric.
The film is partially narrated by the older Costello as he somewhat philosophically remembers the way their friendship fell apart.
Levinson aims to add atmosphere in various ways. For instance, early in the film he uses black and white still photographs of the characters to give us a sense of their history and the times. But it’s one of many plot points that don’t really lead anywhere and in the end, just add complexity to a story that’s begging for a clear throughline.
De Niro is a master at playing gangsters, and so the idea of having him play both friends turned enemies is, arguably, an interesting bit of stunt casting. With the help of prosthetics and makeup, there is enough difference between the appearance of Costello and Genovese so that we’re not distracted.
As well, De Niro, who is a meticulous actor, gives them each a distinctive treatment, mannerisms and their voices, so that it is possible to see them as two separate characters. But the question is why?
As good and watchable as De Niro is, having him play the antagonists robs the film of the extra texture that a different actor would add to all of this.
If the rest of the film was buzzing and vibrant, this casting might have been an asset. But The Alto Knights gets mired down early on with too much detail and not enough clear plot. We hear a lot about the rivalry between the two men, but overall, the film falls flat.
The Alto Knights. Directed by Barry Levinson, written by Nicholas Peleggi. Starring Robert DeNiro and Debra Messing. In theatres, March 21.