A politically connected Cook County state's attorney's office employee threatened to use her position to expose her ex-boyfriend as a federal informant against the Outfit, voice mail messages played in court suggest.
Prosecutors are investigating two cell phone messages that narcotics unit administrator Patti Simone left the father of her children, Nicky Rosales, during a bitter split earlier this year, Cook County State's Atty. Anita Alvarez's spokeswoman Sally Daly said. The tapes were played by Rosales on Friday for a family court judge handling the couple's custody battle.
In the first message, Simone refers to several alleged Outfit-connected suburbs and neighborhoods, threatening to expose Rosales unless he moves out of their Palos Hills apartment. "Everyone will know that you are working with the government," she warns. "Do you understand?"
In the second, Simone tells Rosales, "There are several investigators who will be more than happy to let certain people know you are cooperating with the Feds -- do you understand?"
Simone left the messages April 4 after Rosales told her he had a gun and implied he would abduct the couple's daughter and son, evidence showed.
Rosales had sent a series of "scary" text messages to her before she responded by recording the voice mail messages, an emotional Simone on Friday told Judge Martha Mills. "I thought he was capable of anything," Simone added, saying Rosales had held a gun to her head in 2008.
She and Rosales, who had been together on-and-off for 10 years, finally separated this spring. Mills on Friday awarded Simone a protection order against Rosales, saying she found his claims that he hadn't threatened Simone "incredible."
Rosales denies pending charges of violating an earlier interim protection order.
Daly said the state's attorney could still bring "disciplinary or criminal" charges against Simone over the voice mail messages.
Simone works in Alvarez's narcotics unit. She has continued to work at the Criminal Court building since the tapes surfaced. She is the daughter of Palos Township Democratic Committeeman Sam Simone.
The godfather to her children is Richie "The Cat" Catazone, reputed to run the Chicago Outfit's 26th Street gambling operation, while Rosales' cousin is convicted mob hit man Harry Aleman, Rosales said.
Speaking outside court, he denied being a federal informant.
Simone declined to comment. Her attorney, Joseph Parisi, said the judge's decision to grant an order of protection showed Simone was in the right.
FBI spokeswoman Virginia Wright declined to comment.
Thanks to Kim Jannsen
Wednesday, July 01, 2009
FBI Reports on John Dillinger Crossing the Line
An elderly janitor walked into the cell block of the Lake County Jail at Crown Point, Indiana. The date: March 3, 1934. It was a relatively new facility, built onto the back of the sheriff’s house in 1926, easy to clean, impossible to escape from. The addition of a notorious prisoner—John Dillinger—would prove that. Or so the sheriff thought.
As the janitor entered the cell, the prisoner jumped him and jammed a gun—actually a piece of wood carved in the shape of one—into his ribs. Quickly, through a combination of bravado and desperation, Dillinger tricked half a dozen guards back to the cell block, confiscated their weapons, and jailed the jailors.
On that day, Dillinger was 30 years old.
He was of medium build and average height, with brown, thinning hair. His most distinguishing feature was a roguish smile, which he had put to good use in a series of press photos with the prosecuting attorney Robert Estill and the sheriff upon his extradition to Crown Point. The chummy nature of the photos contributed to both these officials losing their jobs that year. And Dillinger’s charm had already begun to captivate the American people, who began to see him as part Robin Hood, part vicious thug.
The notorious gangster had been captured in Arizona two months earlier. He was wanted in connection with the murder of an East Chicago, Indiana police officer named William O’Malley. At the time Dillinger was not on our radar; he had committed no federal crimes. But we had been assisting Ohio law enforcement in their search for him after was freed from a Lima jail by his confederates in the fall of 1933.
Now Dillinger had escaped once more. In making the break, he’d stolen the sheriff’s car and driven it to Chicago, 50 or so miles northwest of Crown Point. In the process, he crossed the Indiana/Illinois border and violated the National Motor Vehicle Theft Act, commonly called the “Dyer Act.” John Dillinger was now a federal fugitive and an FBI subject.
Over the next several months, the Bureau tracked Dillinger and a wide array of violent criminals who worked with him—making mistakes along the way, but ultimately bringing these violent criminals to justice.
This year marks the 75th anniversary of that chase. More importantly, it is the 75th anniversary of the emergence of the FBI as an organization of national and international stature.
The Bureau’s success in dealing with the gangsters led to significant changes in the FBI and law enforcement nationwide.
Thanks to the FBI.
As the janitor entered the cell, the prisoner jumped him and jammed a gun—actually a piece of wood carved in the shape of one—into his ribs. Quickly, through a combination of bravado and desperation, Dillinger tricked half a dozen guards back to the cell block, confiscated their weapons, and jailed the jailors.
On that day, Dillinger was 30 years old.
He was of medium build and average height, with brown, thinning hair. His most distinguishing feature was a roguish smile, which he had put to good use in a series of press photos with the prosecuting attorney Robert Estill and the sheriff upon his extradition to Crown Point. The chummy nature of the photos contributed to both these officials losing their jobs that year. And Dillinger’s charm had already begun to captivate the American people, who began to see him as part Robin Hood, part vicious thug.The notorious gangster had been captured in Arizona two months earlier. He was wanted in connection with the murder of an East Chicago, Indiana police officer named William O’Malley. At the time Dillinger was not on our radar; he had committed no federal crimes. But we had been assisting Ohio law enforcement in their search for him after was freed from a Lima jail by his confederates in the fall of 1933.
Now Dillinger had escaped once more. In making the break, he’d stolen the sheriff’s car and driven it to Chicago, 50 or so miles northwest of Crown Point. In the process, he crossed the Indiana/Illinois border and violated the National Motor Vehicle Theft Act, commonly called the “Dyer Act.” John Dillinger was now a federal fugitive and an FBI subject.
Over the next several months, the Bureau tracked Dillinger and a wide array of violent criminals who worked with him—making mistakes along the way, but ultimately bringing these violent criminals to justice.
This year marks the 75th anniversary of that chase. More importantly, it is the 75th anniversary of the emergence of the FBI as an organization of national and international stature.
The Bureau’s success in dealing with the gangsters led to significant changes in the FBI and law enforcement nationwide.
Thanks to the FBI.
Tuesday, June 30, 2009
Top 10 Best Hollywood Mobsters of All-Time
As moviegoers prepare for Johnny Depp's John Dillinger facing off against Christian Bale's FBI man Melvin Purvis in "Public Enemies," the mob is on the mind - so here, for your debating pleasure, are 10 of the greatest "trouble boys" to ever grace the screen, small or big. And before you snatch your gats to drill this jingle-brained finkeloo, nibble one and pipe the rules: These are mobsters, as in members of highly organized crime syndicates, not just criminals who are well organized (sorry, Robert De Niro in "Heat"), free agents (such as Dillinger's gang) or lugs with bean-shooters (sorry, Warren Beatty and Faye Dunaway in "Bonnie and Clyde" and James Cagney in "White Heat"). All silk so far?
10 Roman Moroni (Richard Dimitri, "Johnny Dangerously"):
Just as Al Capone went to the big house for income-tax evasion, the malevolently malapropping Moroni ("You fargin sneaky bastage ... bunch of fargin iceholes") was convicted of murdering ... the English language. The headlines blared his punishment: "Moroni Deported to Sweden. Says He's Not From There."
9 Tommy DeVito (Joe Pesci, "GoodFellas (Two-Disc Special Edition)"):
Martin Scorsese's masterwork may be the greatest mobster movie ever, mostly because of his gripping direction. The cocaine freak-out sequence should be taught in film-school editing classes. Pesci's Tommy, with the deadliest case of short man's disease this side of Kim Jong Il, made lines such as, "Funny like I'm a clown, I amuse you?" part of the tough-guy lexicon.
8 Al Capone (Robert De Niro, "The Untouchables (Special Collector's Edition)"):
"I want him dead! I want his family dead! ... I want to go there in the middle of the night and piss on his ashes!" Chicago's poet laureate, David Mamet, was the perfect guy to write the screenplay, and De Niro, in yet another stunningly transformative performance, was the last guy you'd want pacing behind you with a baseball bat.
7 Sonny Corleone (James Caan, "The Godfather - The Coppola Restoration"):
The trash-can beating he administered to his brother-in-law is a classic. Viewers suffered tollbooth phobia that had nothing to do with misplaced FasTrak passes for years after witnessing Sonny's fate (which Mad magazine attributed to his trying to pay with a large bill). Bonus points: The DVD includes a great Easter egg (hidden feature) of Caan doing a Marlon Brando impersonation.
6 Nikolai Luzhin (Viggo Mortensen, "Eastern Promises (Widescreen Edition)"):
If you had never seen Mortensen before this film, you'd think he was that guy, that the filmmakers had just pulled some Russian dude out of a high-end London nightclub. Equal parts preening macho narcissist and cold-blooded hatchet man, he tops even "Borat" for best naked fight.
5 Vito Corleone (Robert De Niro, "The Godfather Part II - The Coppola Restoration"):
The up-and-coming De Niro was picking up the origin story of an already-iconic character that had won an Oscar for an iconic actor (Marlon Brando in "The Godfather"), and he had to do it in Sicilian, a dialect he had learned just a few years before for another film. His portrayal is not only feeling, thinking and reactive, but it also creates a bridge to Brando's work that brilliantly illustrates the character's evolution.
4 Bill "The Butcher" Cutting (Daniel Day-Lewis, "Gangs of New York (Two-Disc Collector's Edition)"):
One of the great screen villains, which we can now see as Daniel Plainview with one more pin of civility removed. A movie monster on the order of Hannibal Lecter, but with a heart and that disturbing false eye. There is, by the way, no truth to the Internet rumor that Day-Lewis was originally to play "Priest" Vallon to Robert De Niro's Bill.
3 Tony Soprano (James Gandolfini, "The Sopranos - The Complete Series"):
The best TV mobster ever. Like Vito Corleone, a multilayered family man - but he's more flawed and real. Bonus points: There's a classic Easter egg in the bonus disc of the original "Godfather" set in which Tony and the boys try to watch a bootleg copy of the 1972 movie.
2 Vito Corleone (Marlon Brando, "The Godfather - The Coppola Restoration"):
Brando gets the nod over De Niro's portrayal of the title character because of the older version's dark mystery and the already arrived quality of the kindly patriarch, who also made people wet their pants in fear. The improvised orange-in-the-mouth ape scene alone, in the greater context of the head of the Corleone crime family, is enough for enshrinement here.
1 Tony Montana (Al Pacino, "Scarface (Widescreen Anniversary Edition)"):
One of the rare ultra-violent movies that women love as much as men do. Its excesses are its successes, from the nosedive into a molehill of yayo to the chain-saw-in-the-shower scene. But the true test of this performance's greatness is to imagine its famous lines delivered by someone - anyone - else. Could even Daniel Day-Lewis or Denzel Washington or Robert De Niro have so unforgettably spat out, "Say hello to my little friend"? No, there is no one else who could have quite pulled off that haircut, that suit, that accent, that je ne sais quoi. It's Pacino waaaay over the top, where he belongs. And considering the character's lingering cultural impact, especially in hip-hop, it surpasses even the Godfather himself. So take a look at the bad guy. You won't see his kind again.
Runners-up: Jules Winnfield (Samuel L. Jackson, "Pulp Fiction"), Don Logan (Ben Kingsley, "Sexy Beast"), Furio Giunta (Federico Castelluccio, "The Sopranos - The Complete Series"), Bugsy Malone (Scott Baio, "Bugsy Malone"), Frank Lucas (Denzel Washington, "American Gangster (2-Disc Unrated Extended Edition)") and Tony Blundetto (Steve Buscemi, "The Sopranos - The Complete Series").
Thanks to Michael Ordona
10 Roman Moroni (Richard Dimitri, "Johnny Dangerously"):
Just as Al Capone went to the big house for income-tax evasion, the malevolently malapropping Moroni ("You fargin sneaky bastage ... bunch of fargin iceholes") was convicted of murdering ... the English language. The headlines blared his punishment: "Moroni Deported to Sweden. Says He's Not From There."
9 Tommy DeVito (Joe Pesci, "GoodFellas (Two-Disc Special Edition)"):
Martin Scorsese's masterwork may be the greatest mobster movie ever, mostly because of his gripping direction. The cocaine freak-out sequence should be taught in film-school editing classes. Pesci's Tommy, with the deadliest case of short man's disease this side of Kim Jong Il, made lines such as, "Funny like I'm a clown, I amuse you?" part of the tough-guy lexicon.
8 Al Capone (Robert De Niro, "The Untouchables (Special Collector's Edition)"):
"I want him dead! I want his family dead! ... I want to go there in the middle of the night and piss on his ashes!" Chicago's poet laureate, David Mamet, was the perfect guy to write the screenplay, and De Niro, in yet another stunningly transformative performance, was the last guy you'd want pacing behind you with a baseball bat.
7 Sonny Corleone (James Caan, "The Godfather - The Coppola Restoration"):
The trash-can beating he administered to his brother-in-law is a classic. Viewers suffered tollbooth phobia that had nothing to do with misplaced FasTrak passes for years after witnessing Sonny's fate (which Mad magazine attributed to his trying to pay with a large bill). Bonus points: The DVD includes a great Easter egg (hidden feature) of Caan doing a Marlon Brando impersonation.
6 Nikolai Luzhin (Viggo Mortensen, "Eastern Promises (Widescreen Edition)"):
If you had never seen Mortensen before this film, you'd think he was that guy, that the filmmakers had just pulled some Russian dude out of a high-end London nightclub. Equal parts preening macho narcissist and cold-blooded hatchet man, he tops even "Borat" for best naked fight.
5 Vito Corleone (Robert De Niro, "The Godfather Part II - The Coppola Restoration"):
The up-and-coming De Niro was picking up the origin story of an already-iconic character that had won an Oscar for an iconic actor (Marlon Brando in "The Godfather"), and he had to do it in Sicilian, a dialect he had learned just a few years before for another film. His portrayal is not only feeling, thinking and reactive, but it also creates a bridge to Brando's work that brilliantly illustrates the character's evolution.
4 Bill "The Butcher" Cutting (Daniel Day-Lewis, "Gangs of New York (Two-Disc Collector's Edition)"):
One of the great screen villains, which we can now see as Daniel Plainview with one more pin of civility removed. A movie monster on the order of Hannibal Lecter, but with a heart and that disturbing false eye. There is, by the way, no truth to the Internet rumor that Day-Lewis was originally to play "Priest" Vallon to Robert De Niro's Bill.
3 Tony Soprano (James Gandolfini, "The Sopranos - The Complete Series"):
The best TV mobster ever. Like Vito Corleone, a multilayered family man - but he's more flawed and real. Bonus points: There's a classic Easter egg in the bonus disc of the original "Godfather" set in which Tony and the boys try to watch a bootleg copy of the 1972 movie.
2 Vito Corleone (Marlon Brando, "The Godfather - The Coppola Restoration"):
Brando gets the nod over De Niro's portrayal of the title character because of the older version's dark mystery and the already arrived quality of the kindly patriarch, who also made people wet their pants in fear. The improvised orange-in-the-mouth ape scene alone, in the greater context of the head of the Corleone crime family, is enough for enshrinement here.
1 Tony Montana (Al Pacino, "Scarface (Widescreen Anniversary Edition)"):
One of the rare ultra-violent movies that women love as much as men do. Its excesses are its successes, from the nosedive into a molehill of yayo to the chain-saw-in-the-shower scene. But the true test of this performance's greatness is to imagine its famous lines delivered by someone - anyone - else. Could even Daniel Day-Lewis or Denzel Washington or Robert De Niro have so unforgettably spat out, "Say hello to my little friend"? No, there is no one else who could have quite pulled off that haircut, that suit, that accent, that je ne sais quoi. It's Pacino waaaay over the top, where he belongs. And considering the character's lingering cultural impact, especially in hip-hop, it surpasses even the Godfather himself. So take a look at the bad guy. You won't see his kind again.
Runners-up: Jules Winnfield (Samuel L. Jackson, "Pulp Fiction"), Don Logan (Ben Kingsley, "Sexy Beast"), Furio Giunta (Federico Castelluccio, "The Sopranos - The Complete Series"), Bugsy Malone (Scott Baio, "Bugsy Malone"), Frank Lucas (Denzel Washington, "American Gangster (2-Disc Unrated Extended Edition)") and Tony Blundetto (Steve Buscemi, "The Sopranos - The Complete Series").
Thanks to Michael Ordona
Sunday, June 28, 2009
Was Michael Jackson Targeted for Death by the Mafia?
Speculation is building that Michael Jackson was targeted by members of the mafia in Los Angeles in what was believed an attempt by various disgruntled creditors to recover millions of dollars of money owed on failed business ventures.
Sources in Los Angeles believe various "high-ranking" members of the underworld had been given orders to approach Michael Jackson in an attempt to recover money given the stars apparent rise in fortunes.
The star is believed in an act of desperation may have overdosed on sleeping pills in a desperate last ditch attempt to avoid a grueling 50 date tour in London and confrontations with the underworld.
An autopsy of Michael Jackson is likely to take place in the next few days, with funeral arrangement yet to be confirmed.
Thanks to The London Daily News
Sources in Los Angeles believe various "high-ranking" members of the underworld had been given orders to approach Michael Jackson in an attempt to recover money given the stars apparent rise in fortunes.
The star is believed in an act of desperation may have overdosed on sleeping pills in a desperate last ditch attempt to avoid a grueling 50 date tour in London and confrontations with the underworld.
An autopsy of Michael Jackson is likely to take place in the next few days, with funeral arrangement yet to be confirmed.
Thanks to The London Daily News
Saturday, June 27, 2009
Hollywood's Love Affair with Gangsters Continues to Grow
What is it about the gangster that has always captivated our public imagination?
In America, since the very first black- and-white silent films, we’ve been mesmerized by the fedoras, the guns, the women and the nightlife. These were the men who broke all the rules - when they weren’t writing their own rules - and lived the good life as a result.
In this way, they aren’t just criminals but also a certain special sort of capitalist. Take away the nasty, back-alley murders and they are living the American dream: building up mini corporate empires and reaping the profits.
We’re less than a week away from the next gangster movie epic: "Public Enemies," which opens in theaters Wednesday. Attracting the talents of such considerable film artists as director Michael Mann and actors Johnny Depp and Christian Bale it’s clear that gangsters remain as fascinating a force today as they were for the authors and filmmakers of a century ago.
What’s different this time around, however, is that "Public Enemies" focuses on not just one, but two emerging power structures. Less a claustrophobic view of the mafia power structure ("The Godfather"), "Public Enemies" is about a clash of two titans in the public sphere: bank robber John Dillinger (Depp) who wanted to be the renegade celebrity of his time, and J. Edgar Hoover (Billy Crudup), who brought all his forces to bear in his hunt for Dillinger because he was convinced that this was the case that could legitimize and nationalize the FBI.
It’s a face-off of epic proportions, but hardly the first. Here’s a quick look back at the evolution of the movie gangster:
Scarface
(1932)
More people are familiar with the 1983 remake starring Al Pacino, but the very first "Scarface," released in 1928, was a bleak affair. So, too, was the Howard Hawks remake in 1932, which viewed the gangster life as an apocalyptic one - a sure-fire path to the grave. Made back in the day when gangs and mafia kingpins really did rule with an iron fist, this was a movie that reflected its era.
The Public Enemy
(1931)
It’s truly shocking to go back and rent "The Public Enemy" some 77 years after it was first released. This is an intense, vicious, fierce movie - and it comes as a surprise how very little about this old-time movie seems soft or dated. It stars James Cagney as an up-and-comer in Chicago, working his way through the ranks of gangsters even as a murder threatens to unleash havoc amid those in the underground community. Cagney is cool and calculating, and downright nefarious when he needs to be. We can smell the smoke, and feel the ferocity of the time period.
Kiss Me Deadly
(1955)
One of my personal favorites, "Kiss Me Deadly" brought gangsters and the film noir genre into the nuclear age. Mike Hammer was a firebrand of a private eye, quick to fire off the first punch or the first bullet. And in "Kiss Me Deadly," a mysterious hitchhiker draws him into a web of violence and mystery, as everyone seems determined to take possession of a mysterious suitcase that glows whenever you open it (it was the inspiration behind the golden glowing suitcase in Quentin Tarantino’s "Pulp Fiction.")
The Godfather Part II - The Coppola Restoration
(1974)
Francis Ford Coppola was brilliant in the way he structured this sequel to "The Godfather," paralleling a modern-day story starring Al Pacino with a turn-of-the-century subplot involving Robert De Niro (playing Pacino’s father when still a young man). Establishing friendships with local businessmen, stocking up favors and slowly starting to exert his influence among the establishment, we come to see the way that thughood can be a grass-roots affair. Forget tyrant, De Niro is almost a populist in the way he helps the community and earns their undying allegiance in the process.
Road to Perdition (Widescreen Edition)
(2002)
A modern and moody spin on the standard gangster thriller, "Road to Perdition" went beyond the blood and the testosterone to offer us a wave of sincere emotion beneath the surface. Paul Newman plays the Chicago mob boss in 1931, and Tom Hanks works for him directly. Hanks’ world is flipped upside down when his son follows him one night and witnesses what daddy does for a living. More than just about a gangster ruling with an iron fist, "Road to Perdition" poses the question of whether violence is truly manly, or if it’s a weak man’s attempt to provide for a family. And as Hanks shares his trade with his son, we see the way that bad traditions are passed down through the generations, a cycle of dark despair.
Heat
(1995)
It’s also worth taking a moment to acknowledge the last gangster movie that was made by "Public Enemies" director Michael Mann. "Heat" viewed the gangster and the cop as equals, with Al Pacino in the part of the detective and Robert De Niro in the part of the master criminal. Sitting down to coffee as they try to intimidate - and relate to - one another, "Heat" is less about good and evil, crime and justice, than about seeing the men of the law and the men of the shadows as two personas cut from the same cloth. Both are obsessed, vigilant, and cut-throat; "Heat" is truly one of the great thrillers.
Thanks to Steven Snyder
In America, since the very first black- and-white silent films, we’ve been mesmerized by the fedoras, the guns, the women and the nightlife. These were the men who broke all the rules - when they weren’t writing their own rules - and lived the good life as a result.
In this way, they aren’t just criminals but also a certain special sort of capitalist. Take away the nasty, back-alley murders and they are living the American dream: building up mini corporate empires and reaping the profits.
We’re less than a week away from the next gangster movie epic: "Public Enemies," which opens in theaters Wednesday. Attracting the talents of such considerable film artists as director Michael Mann and actors Johnny Depp and Christian Bale it’s clear that gangsters remain as fascinating a force today as they were for the authors and filmmakers of a century ago.
What’s different this time around, however, is that "Public Enemies" focuses on not just one, but two emerging power structures. Less a claustrophobic view of the mafia power structure ("The Godfather"), "Public Enemies" is about a clash of two titans in the public sphere: bank robber John Dillinger (Depp) who wanted to be the renegade celebrity of his time, and J. Edgar Hoover (Billy Crudup), who brought all his forces to bear in his hunt for Dillinger because he was convinced that this was the case that could legitimize and nationalize the FBI.
It’s a face-off of epic proportions, but hardly the first. Here’s a quick look back at the evolution of the movie gangster:
Scarface
(1932)
More people are familiar with the 1983 remake starring Al Pacino, but the very first "Scarface," released in 1928, was a bleak affair. So, too, was the Howard Hawks remake in 1932, which viewed the gangster life as an apocalyptic one - a sure-fire path to the grave. Made back in the day when gangs and mafia kingpins really did rule with an iron fist, this was a movie that reflected its era.
The Public Enemy
(1931)
It’s truly shocking to go back and rent "The Public Enemy" some 77 years after it was first released. This is an intense, vicious, fierce movie - and it comes as a surprise how very little about this old-time movie seems soft or dated. It stars James Cagney as an up-and-comer in Chicago, working his way through the ranks of gangsters even as a murder threatens to unleash havoc amid those in the underground community. Cagney is cool and calculating, and downright nefarious when he needs to be. We can smell the smoke, and feel the ferocity of the time period.
Kiss Me Deadly
(1955)
One of my personal favorites, "Kiss Me Deadly" brought gangsters and the film noir genre into the nuclear age. Mike Hammer was a firebrand of a private eye, quick to fire off the first punch or the first bullet. And in "Kiss Me Deadly," a mysterious hitchhiker draws him into a web of violence and mystery, as everyone seems determined to take possession of a mysterious suitcase that glows whenever you open it (it was the inspiration behind the golden glowing suitcase in Quentin Tarantino’s "Pulp Fiction.")
The Godfather Part II - The Coppola Restoration
(1974)
Francis Ford Coppola was brilliant in the way he structured this sequel to "The Godfather," paralleling a modern-day story starring Al Pacino with a turn-of-the-century subplot involving Robert De Niro (playing Pacino’s father when still a young man). Establishing friendships with local businessmen, stocking up favors and slowly starting to exert his influence among the establishment, we come to see the way that thughood can be a grass-roots affair. Forget tyrant, De Niro is almost a populist in the way he helps the community and earns their undying allegiance in the process.
Road to Perdition (Widescreen Edition)
(2002)
A modern and moody spin on the standard gangster thriller, "Road to Perdition" went beyond the blood and the testosterone to offer us a wave of sincere emotion beneath the surface. Paul Newman plays the Chicago mob boss in 1931, and Tom Hanks works for him directly. Hanks’ world is flipped upside down when his son follows him one night and witnesses what daddy does for a living. More than just about a gangster ruling with an iron fist, "Road to Perdition" poses the question of whether violence is truly manly, or if it’s a weak man’s attempt to provide for a family. And as Hanks shares his trade with his son, we see the way that bad traditions are passed down through the generations, a cycle of dark despair.
Heat
(1995)
It’s also worth taking a moment to acknowledge the last gangster movie that was made by "Public Enemies" director Michael Mann. "Heat" viewed the gangster and the cop as equals, with Al Pacino in the part of the detective and Robert De Niro in the part of the master criminal. Sitting down to coffee as they try to intimidate - and relate to - one another, "Heat" is less about good and evil, crime and justice, than about seeing the men of the law and the men of the shadows as two personas cut from the same cloth. Both are obsessed, vigilant, and cut-throat; "Heat" is truly one of the great thrillers.
Thanks to Steven Snyder
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