Shadows on the Wall | The Alto Knights

The Alto Knights

dir Barry Levinson
scr Nicholas Pileggi
prd Irwin Winkler, Barry Levinson, Jason Sosnoff, Charles Winkler, David Winkler
with Robert De Niro, Debra Messing, Cosmo Jarvis, Kathrine Narducci, Michael Rispoli, Wallace Langham, Frank Piccirillo, Matt Servitto, Louis Mustillo, Belmont Cameli, Joe Bacino, Luke Stanton Eddy
release US/UK 21.Mar.25
25/US Warners 2h03

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While this fact-based drama is strikingly well written, directed and performed, it also feels stuck in nostalgic perspective. Essentially, it's bunch of old men (both characters and filmmakers) confronting the fact that the world is changing and they need to step aside. Since it's based on real people and events, the film has strong historical resonance. But because the narrative always looks back, it's more informative than involving.

In 1957 New York, mob boss Frank Costello (De Niro) is almost killed by henchman Vincent (Jarvis), who works for rival gangster Vito Genovese (also De Niro). Recovering, Frank reminisces about growing up with Vito and hanging out in the Alto Knights cafe. Vito handed their empire to Frank when he fled to Italy during WWII, and now he wants it back. Tired of this cutthroat life, Frank decides to retire with his wife Bobbie (Messing). But will Vito let him? And will Senator Kefauver (Langham) catch them both in his investigation into organised crime?

Surprisingly, De Niro's dual role never feels gimmicky, as he cleverly creates very different energies for Frank and Vito. From the same background, they have chosen very different paths: Frank is unnervingly conciliatory while Vito lashes out with violence. This creates an intriguing chemistry between them, underscored by camaraderie, rivalry and mistrust. While De Niro skilfully nails the distinct physicalities, the prosthetic makeup can be distracting, largely because we can't help but look for the seams.

The wider ensemble inhabits roles beautifully, finding a cheeky sense of humour in offhanded moments (one aside involves a hilariously rambling discussion about the origins of Mormonism). Jarvis brings his considerable presence to the apparently dim-witted enforcer Vincent, even constrained by an oddly flabby neck. And the two women in the cast have some vivid moments of their own: Messing gives Bobbie an observant steeliness, while Narducci brings some fire as Vito's tumultuous wife Anna.

It's worth noting that director Levinson is 82, writer Pileggi is 92 and producer Winkler is 93. These veteran filmmakers bring their considerable talents to this film, which is beautifully assembled with attention to detail. The pacing is brisk, with subtle nuances, heart-stopping violence, fascinating plot twists and superbly colourful characters. But it feels like it might have made a better mini-series. Especially because the story of the young Frank and Vito looks even more compelling than this punchy account of their momentous bustup.

themes, language, violence 18.Mar.25

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