"Chicago Overcoat" to Debut at Chicago International Film Festival

Six Columbia alumni will debut their first feature-length film, Chicago Overcoat, at the Chicago International Film Festival on Oct. 10.

Loosely based on the Chicago crime syndicate, Chicago Overcoat tells the story of Lou Marzano, an aging gangster who is upset with the way the mob functions in the modern era and wants it to be as it was in his day.

Columbia is the presenting sponsor at the Chicago International Film Festival this year, and Chicago Overcoat will be screened multiple times. The movie’s stars, Frank Vincent and Katherine Narducci of “The Sopranos,” as well as Mike Starr, will make appearances throughout the weekend of the festival. The cast also includes Armand Assante and Chicago’s own Danny Goldring.

The presenting sponsors of the festival, Columbia’s National Director of Alumni Relations Josh Culley-Foster and Vice President of Institutional Advancement Eric Winston, joined forces with Columbia’s marketing team to plan the national debut of the film at the festival.

The crew’s independent production company, Beverly Ridge Pictures, produced the film. The crew consists of writer/director Brian Caunter, writer/producer John Bosher, associate producer/casting director Chris Charles, associate producer/director of photography Kevin Moss, director of production William Maursky and co-producer/production designer Philip Plowden.

The idea for the film came from Caunter’s grandmother, who said a “Chicago overcoat” is an old gangster term for coffin.

“[Caunter] thought it was a really fascinating idea and we were thinking about what kind of stories could focus on Chicago [and have] Chicago as a backdrop,” Charles said. “John suggested a gangster movie. We realized that nobody had done a modern-day Chicago mob story [before].”

Shot in more than 70 locations, the filmmakers chose not only the familiar sides of Chicago, but also gritty scenery not seen in most films where Chicago is the backdrop.

“We have underground locations for some of the scenes,” Plowden said. “It provided a layer of realism to the film. For us, it was nice to add that layer.”

Working with a little more than $1 million, Chicago Overcoat conceals evidence of the tight budget through disciplined production schedules, sharp cinematography and devout professionalism, as well as the use of an antique, yet fully functional Thompson submachine gun.

Enlisting the help of Columbia students and recent graduates, the crew of Chicago Overcoat dedicated themselves and each gave their best effort.

“The people in the cast and crew got a lot out of the experience,” Bosher said. It was nice to have a production that really had that independent spirit—that young, go-getter attitude. Their hunger, excitement and desire for making the most of their opportunities allowed us to get an efficient crew.”

Columbia will hold an exclusive viewing night for the college community prior to the world premiere of Chicago Overcoat on Oct. 9. The evening will also feature the short film Burden, created by Charles and Bosher while they were students at Columbia.

“Just to be one of five films from the [U.S.] to be at this festival is incredible,” Charles said. “We’re very excited.” Charles said one of the greatest things about Columbia is being able to network. “There’s a lot of collaboration, whether it’s with your professors who work in the industry or your fellow classmates,” Charles said.

A filmmaker can meet a handful of really good, hardworking people, said Film and Video instructor Clint Vaupel. “If you prove yourself and you do what you need to do, other people will see that, and your name gets passed on,” Vaupel said. “A big family is made and people look out for each other.”

Thanks to Ciara Shook

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Final Chapter for The "Mafia Cops"

I like a mob story as well as the next guy, but "The Godfather" this ain't.

Still, somebody has to sweep up after the elephants in the "Mafia Cops" parade. So give me the broom and step aside.

On Tuesday morning, a prudent jury returned a guilty verdict in the federal drug trial of Anthony Eppolito and Guido Bravatti. It was the quintessentially understated ending to one of the loudest organized crime investigations in recent history: the successful prosecution of the infamous "Mafia Cops," Louis Eppolito and Stephen Caracappa, who were convicted of betraying their NYPD badges and acting as informants and hit men for New York's Lucchese organized crime family. In all, they had a hand in eight murders, including the Nov. 6, 1990, shooting death of Gambino family capo Eddie Lino, a job they pulled personally on behalf of Lucchese underboss Anthony Casso.

The elder Eppolito, a rotund and affable fellow who retired to Las Vegas in the early 1990s and pursued a career as a movie actor and screenwriter, received life plus 100 years. Caracappa, who moved in across the street from his former police partner and worked for a time as a private investigator and women's prison employee, was sentenced to life plus 80 years.

Upon sentencing, the ice-cold Caracappa didn't flinch. He said simply, "I am innocent of these charges."

Eppolito, always auditioning, gave something of a soliloquy. "I'm a big boy," he said. "I'm not a child. The federal government can take my life. But they can't take my soul, they can't take my dignity. I never hurt anybody. ... I never did any of this."

Senior Federal Judge Jack Weinstein, a veteran of many bloody mob trials, called the Mafia Cops case "the most heinous series of crimes ever tried in this courthouse."

At last count, a half dozen books have been written about the Mafia Cops and their crimes, not including Eppolito's own paperback autobiography, "Mafia Cop: The Story of an Honest Cop Whose Family was the Mob." Eppolito's father, uncle and cousin were mobsters, but in his book he claimed to have broken the chain of criminal behavior.

Instead, Louis Eppolito helped extend it to another generation by implicating his son Anthony in his rotten life. It's a safe bet no one will be writing a book about this pathetic excuse for a mob case.

Fast forward to this past week in U.S. District Judge Philip Pro's courtroom, where defense attorneys Richard Schonfeld, on behalf of Anthony Eppolito, and Assistant Federal Public Defender Shari Kaufman attempted to persuade a jury their clients were entrapped by the FBI and DEA through its use of undercover informant Stephen Corso.

The defense attorneys worked this case about as well as they could given the problem with the evidence. (The problem was it incriminated their clients and didn't come close to proving entrapment. On the contrary, the defendants appeared only too willing to provide drugs, guns and women.)

Judge Pro took extra care to severely limit any mention of defendant Eppolito's more notorious father and the Mafia Cops case in general. Trouble is, this is a case with plenty of incriminating surveillance tape, which was collected hour after hour by Corso during the investigation.

At one point, perhaps sensing that Corso was getting the cold shoulder from the government, courthouse sources say the defense team sought to interview the insider witness. After the request was granted by Judge Pro, Schonfeld changed his mind and Corso remained a courthouse ghost.

Schonfeld and Kaufman started like pitbulls, ended like house cats. No wonder neither feels like talking. I hear their clients were offered sweet pretrial deals.

The case might have developed into something worth writing about had the small mountain of damaging discovery material associated with the investigation surfaced in the court record. Sources say it contains voluminous recordings of local organized crime figures and their eclectic circle of friends from the business and legal communities.

One gregarious fellow beyond worrying about the government's inquiry is telemarketer and ex-fighter Joey Roach, who died recently. Roach was tight with local Lucchese crime family man John Conti. And now my cleanup is complete. This is what I've been reduced to in the pursuit of a good mob story -- a mundane drug dealing case.

Forget "The Godfather."

This isn't even "The Godson" material.

Thanks to John L. Smith

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Mob Murder of Chicago Tribune Reporter Remains Unsolved

Q: My father was born in 1918 in Chicago. He told me a story that, during his youth, the mob killed a newspaper reporter. The whole city of Chicago turned out for the funeral, leading to a public outcry against mob activity. Is the story true?

A: It’s true. On June 9, 1930, Alfred “Jake” Lingle Jr., a 38-year-old reporter for the Chicago Tribune, was murdered near a train station. A big state funeral with bands and military representation treated Lingle as a genuine hero. In time, his reputation became tarnished. Fervently involved in mob activity, Lingle lived a plush life way beyond the means of a newspaperman. His unsolved murder is a cold case; it still is on the books.

Thanks to Gary Clothier

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