Il était une fois en Amérique

Because there is an even longer director's cut and a short 130 minute version which was the version initially released in America, and is incomprehensible.

The film traces the lives of four Jewish gangsters from a New York City ghetto through 60 years of 20th century history in an odd way. It focuses on three time periods - 1920 when the gang is in their teens, 1932-1933 as prohibition ends, and 1968 when Noodles (Robert DeNiro) returns to New York as an old man after he gets a letter saying his true identity has been uncovered. Noodles has been living with regret this past 35 years, because he feels responsible for his gang having been killed by the police back in 1933. He wonders if someone is planning to settle an old score with him.

The Godfather this is not. There are no family ties binding any of these characters together, and they are extremely unlikeable and only vaguely characterized. Only Noodles is humanized even a little bit, and then he ruins that by turning out to be a rapist as well as covering the requisite thief/murderer territory that comes with being a gangster.

What does it do right? The cinematography by Tonino Delli Colli captures the gritty vibrancy of New York's Lower East Side, the glitz of the Prohibition era, and the melancholic decay of the 1960s. There is great attention to period detail, from costumes to production design, immersing the viewer in each era. Then there is that memorable score. As for the acting, De Niro shows the versatility that he always does, and James Woods as Noodles' best friend and gangster ally Max plays the part as ambitious and cunning. Plus Woods always injects just a little bit of crazy int his performances.

What did it do wrong? Leone's last film has the same problem with editing that Scorsese has had with his later films. It's just too long and has lots of side stories about union bosses and strikes that add nothing to the narrative. Finally, there are a total of two rapes in this film, with one of them actually being played for laughs. Leone did this in "Duck You Sucker" and caused me to lose all sympathy for Rod Steiger's character as a result. Does Leone not get how such crimes are received in the United States?

Overall this film actually transcends the gangster genre. It's not about family or the gangster lifestyle. It's about the passing of time, guilt/regret, memory, friendship and growing old. It's also just as much a mystery as it is a mafia movie, as there is much debate as to whether or not anything that happens in the 1968 segment is even real or is it a heroin induced dream of Noodles as he tries to forget his part in the death of his friends by getting doped up in an opium den. I'd say - You decide. It could go either way.

Once Upon A Time In America is the crowning achievement of director Sergio Leone. It's nearly four hours long,and demands total concentration from beginning to end. However,those willing to submit will find it more than worth it.

Reminiscent at times of some very old gangster films such as The Roaring Twenties,one will find almost every gangster movie cliché one can find-one can imagine Leone half remembering bits and pieces from films he saw as a youth. However,he never glamourises his protagonists-he may dare us to like Robert De Niro's 'Noodles'-a murderous thug and rapist who always seems to make the wrong decisions-but that's different from glamourising him. The notorious rape scene is all the more hard to watch because its painful to watch Noodles try to destroy himself and his girlfriend by going through with it.

What really makes this film different is it's overwhelming melancholy. Leone's favourite loyalty/betrayal theme is there,but the film is also a study of memory,of a lost soul coming to terms with his past. Therefore,starting in mid-plot in the 1930s,than flashing back and forth in time,was the right choice {if initially confusing!}. This is the culmination of Leone's increasing interest in the flashback structure-think especially of the parallel story told in A Fistful of Dynamite's flashbacks.

There is action,but it's mostly quick and brutal,and there is also humour,such as a very funny scene set to Rossini's Thieving Magpie where the gangsters are loose in a hospital filled with babies. However,the broody,melancholic tone never really goes away,and towards the end,the film grinds to a virtual halt. Be warned,there is no action climax,just a series of somewhat oblique dialogue scenes and revelations.

The expected Leone flamboyancy is hardly to be found,but the film still often soars most when dialogue is kept to a minimum and Ennio Morricone's gorgeous music takes over. Some of the most brilliant scenes just consist of Noodles seeing and reflecting. In one especially effective and poignant scene near the end,an old Noodles is leaving his love Deborah as her achingly sad theme plays,and he sees her son,who is the spitting image of,well,I try to avoid spoilers! As the music changes into the still sad but more majestic main theme,the camera slowly zooms,as it often does,into Noodles' sad eyes. We go to what is initially a blur,until we realise it's curtains. The person who holds the key to all this appears,like a ghost,through the curtains and goes onto a balcony,from where he sees the same 'son' with a girlfriend. Sheer brilliance,and not a gun in sight!

Of course De Niro is great,but he's obviously very restrained and reflective. It's James Woods who really dominates,so dynamic here,this should have made him a big star. One must also mention Tonni Delli Colli,who photographs three time periods with slightly different hues but still subtly.

Leone's original cut was five hours and if you want to be picky there are holes in the plot. Leone leaves a great many things ambiguous,but shouldn't all great art ask questions? Once Upon A Time In America is not necessarily easy viewing,but it IS great art,the final statement of one of the best filmmakers of all time.

This is, for me, one of the finest examples of cinematic art. It isn't a simple, cut-n-dried 90 minute little package that gets wrapped up with a pretty bow at the end. You get pulled in by the enigmatic opening that unwinds the threads of the story to be found later. For many people having half an hour of purely visual story telling, of stories that are only mysteries at that point, before anything becomes truly linear is difficult to follow and discourages to many people. Our own memories are only snippets that only become linear as we concentrate on scenes from our lives. Once Upon a Time in America is like that as we follow Noodles through the `significant' part of his life - the times that formed him. When the story actually starts, we meet the girl that he always loved but could never have.

David `Noodles' Aaronson (DeNiro) was a kid on the very mean streets of Brooklyn when organized crime was born in America and he grew into and out of it. That's the simplest synopsis of the plot. The reality is that this isn't a movie about gangsters. Being a gangster is the easiest way for Noodles to survive and get ahead, but it also alienates and ruins his one love. Whenever he is close to giving himself to Deborah he always gets pulled back into the gang, in some form or another.

DeNiro's portrayal is of a gangster, through and through, who also has a conscience that, while not preventing him from being a ruthless killer, rules his life with regret, remorse and guilt. Leone takes a bit of poet/historic license by showing the Brooklyn Bridge being built in the background (the bridge had been built 40 years before), but it symbolizes Noodles' own growth. When the bridge is just pilings and incomplete towers, Noodles is just forming his future. By the time the bridge is complete, Noodles is nothing but a gangster and the bridge is majestic. When he returns 35 years later our view of the bridge is from under a freeway -- the world has moved along, but the bridge and Noodles are just as they were.

The length: If you're looking for a brief distraction that you'll barely remember 30 minutes later, this isn't the movie for you. However, if you are prepared and able to be undistributed for the nearly 4 hours that this film uses to compress a lifetime -- you will be rewarded with many facets of thought and examination.

Sergio Leone's films are all love letters to America, the American dreams of an Italian who grew up at the movies, who apprenticed with Wyler, and Aldrich, signed himself Bob Robertson, and gave us Clint Eastwood, Lee Van Cleef, Charles Bronson as we know them. Sadly, America didn't always repay the compliment. Leone's were "spaghetti westerns", money makers to be sure, but deemed disrespectful of the great tradition of Ford, Walsh and Hathaway. Many critics and Holllywood insiders called his earlier Eastwood films cynical and violent bottom-line commercial exploitation. By the time that they caught on to Leone's genuine popular appeal, the director had already moved on. And, his Once Upon a Time in the West was damned as pretentious, bloated, self-indulgent: an art film disguised as a Western, the Heaven's Gate of its day. That film's canny blend of pop appeal and pure cinematic genius gradually dawned on the powers that be (or were), and helped give rise to the renaissance of American filmmaking in the early seventies. It is worth noting that The Godfather could have been made by Leone, had he chosen. Leone had been pitching a gangster film that would encompass generations, for a generation or two, himself. Rather than do the Puzo version finally thrown back at him, he waited an eternity, and finally realized this, his last finished project. That ellipse of a decade or so between conception and completed movie is paralleled in the film, itself, by Robert De Niro's ("Noodles'") opium dream of the American twentieth century, its promises, and betrayals. Naturally, Leone was betrayed, once again, himself, by America, and this truly amazing film, with its densely multi-layered, overlapping flashback structure was butchered upon its release, becoming a linear-plotted sub-Godfather knockoff in the process. Luckily, the critics had grown up enough in the meantime to finally get a glimmering of what Leone was up to, and demand restitution. Very few saw it properly in theaters, but the video version respects the director's intentions, more or less. Ironically, Leone had foreseen television screen aspect ratios as determining home viewing of the future, and abbreviated his usual wide screen format for this movie, so this most troubled last project was the first released on video to most properly resemble the true cinematic experience. For diehard fans of the Eastwood westerns impatient with this at first, watch those movies till you want and need more. This will eventually get to you. For art film fanatics who don't get the earlier Leones, travel in the reverse direction, and you will be pleasantly surprised. This is the movie that Leone spent a decade conceiving. It will deliver for decades of viewing to come.

Oh, how to feel about this movie?

I was mostly riveted by it, let's get that out of the way. It's gorgeous to look at with those Sergio Leone compositions, and gorgeous to listen to with that Ennio Morricone score. Like so many of Leone's films, it has a plaintive, nostalgic glow to it that makes you ache emotionally without even knowing exactly what you're aching for.

And there's where I get conflicted with this movie. The character created by Robert De Niro is a repulsive human being. He murders, he rapes. The film cannot be forgiven for the way it handles rape. In one instance, the woman treats it like it was a naughty prank and comes back to fondle the rapist and his buddies in a scene played for laughs. In the other instance, the film at least has the decency to make it seem like something traumatic to the woman, but that woman is Elizabeth McGovern, who reappears later in the film and acts like she's full of regret over the relationship she and De Niro were denied, despite the fact that that relationship consisted almost entirely of him just stalking her and then taking her against her will in the back of a car when she tells him she's leaving for California to become an actress. We follow Robert De Niro both as a young man and as an older man looking back ruefully on his life, but we don't sense that he regrets any of the things he actually did. He just regrets what he lost. It's like he's sad that his days of murdering and raping without consequence are over, and that elegiac Sergio Leone tone left me wondering, what exactly are we supposed to be feeling nostalgic about?

So I guess I understand both people who think this movie is something great and those who think it's reprehensible. I guess it's proof that things can be many things at once.

Grade: A.