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Chazz Palminteri wrote the script for this excellent story of an Italian American boy (Lillo Brancato) who grows up in the 1960s caught between the strong influences of his blue-collar, straight- arrow father (Robert De Niro) and a Mafia chieftain (Palminteri) who is his all-purpose mentor. De Niro makes his directorial debut with this production and, except for a little stiffness, does very well by the characters and their world. The story does not go precisely where one might expect it to go: Palminteri knows better than to force the central figure to choose between the two most important men in his life, and he doesn't fill time with stock drama about crime or family conflict. Joe Pesci makes an extremely effective and uncredited appearance at the end as a man who doesn't have to do more than speak softly to communicate how dangerous he is.
--Tom Keogh
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