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Bugsy represents an almost miraculous combination of director, writer, and star on a project that represents a career highlight for everyone involved. It's one of the best American gangster movies ever made--as good in its own way as any of the
Godfather films--and it's impossible to imagine anyone better than Beatty in the movie's flashy title role. As notorious mobster and Las Vegas visionary "Bugsy" Siegel, Beatty is perfectly cast as a man whose dreams are greater than his ability to realize them--or at least, greater than his ability to stay alive while making those dreams come true. With a glamorous Hollywood mistress (Annette Bening) who shares Bugsy's dream while pursuing her own upwardly mobile agenda, Bugsy seems oblivious to threats when he begins to spend too much of the mob's money on the creation of the Flamingo casino. Meyer Lansky (Ben Kingsley) and Mickey Cohen (Harvey Keitel) will support Bugsy's wild ambition to a point, after which all bets are off, and Bugsy's life hangs in the balance. From the obvious chemistry of Beatty and Bening (who met and later married off-screen) to the sumptuous reproduction of 1940s Hollywood, every detail in this movie feels impeccably right. Beatty is simply mesmerizing as the man who invented Las Vegas but never saw it thrive, moving from infectious idealism to brutal violence in the blink of an eye. Director Barry Levinson is also in peak form here, guiding the stylish story with a subtle balance of admiration and horror; we can catch Bugsy's Vegas fever and root for the gangster's success, but we know he'll get what he deserves. We might wish that Bugsy had lived to see his dream turn into a booming oasis, but the movie doesn't suggest that we should shed any tears.
--Jeff Shannon
From The New Yorker
This opulent period gangster movie, written by James Toback and directed by Barry Levinson, is largely a showcase for the old-fashioned star magnetism of Warren Beatty, who plays the legendary Benjamin (Bugsy) Siegel. The screenplay portrays Bugsy as a charming, mercurial psychopath with a rather touching taste for glamour; it concentrates on the last few years of the hero's life, when he became a Hollywood celebrity and built the first hotel-cASINo in Las Vegas. He's a vivid, unpredictable, one-of-a-kind guy, and the filmmakers seem to realize that they can't take their eyes off him for a second. Siegel is a fascinating monster; we don't want to take our eyes off him, either. This is a rich role for Beatty, and he tears into it hungrily. It's the best kind of star performance: Beatty seems entirely himself, but in a new way. He's ferociously, mesmerizingly funny. Annette Bening plays Bugsy's lover, the tough, wily, independent-minded mob courtesan Virginia Hill, and she more than holds her own in her scenes with the star. And the movie is filled with pungent, memorable supporting performances. Ben Kingsley brings a surprisingly dry, elegant sense of comic timing to his portrait of sober Meyer Lansky (one of the hero's partners in the New York mob). Harvey Keitel, as Mickey Cohen, Bugsy's right-hand man in Los Angeles, spits out his profane lines as if they were live firecrackers. Elliott Gould plays the tiny role of Harry Greenberg, an aging, flabby mob schlemiel, and he's absolutely inspired; he plays this dazed character as a Willy Loman who has wandered too far from the old territory. Despite its lavish surface, this is essentially a movie of small, lovingly crafted pleasures. It's smart, swanky fun. Also with Bill Graham (as Lucky Luciano) and Joe Mantegna (as George Raft). Allen Daviau did the glamorous cinematorgaphy. -Terrence Rafferty
Copyright © 2006
The New Yorker