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From The New Yorker
"It was 1960, and doo-wop was the sound on the streets." The opening voice-over establishes the point of view of Robert De Niro's début as a director: an excitable nostalgia, which turns thugs into demigods and workingmen into heroes. The plot turns on the tussle for a boy's soul: De Niro plays Lorenzo, whose s
From The New Yorker
"It was 1960, and doo-wop was the sound on the streets." The opening voice-over establishes the point of view of Robert De Niro's début as a director: an excitable nostalgia, which turns thugs into demigods and workingmen into heroes. The plot turns on the tussle for a boy's soul: De Niro plays Lorenzo, whose son Calogero is spending too much time with a local hood named Sonny (Chazz Palminteri) and his band of merry men-Tony Toupee, Eddie Mush, and so forth. Everyone here is a bit of a character, an O.K. guy; the whole movie is built from this well-meaning shorthand, with an oldies soundtrack to boost the mood. The tale was originally written by Palminteri as a five-minute monologue, then grew into a full stage performance before becoming a screenplay; by now it feels tired, and you can't help feeling that the material has already been worked to death onscreen. On the plus side are Sonny's reverse-driving skills, and a silky, striking performance by Lillo Brancato as the teen-age Calogero. -Anthony Lane
Copyright © 2006 The New Yorker
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A Bronx Tale
Kind of reminds me of the episodes of The Sopranos where they show Tony's dad and junior when they were younger.
Rating : 10/10