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Dueling De Niros spar in ‘The Alto Knights,’ a tip of the fedora to an iconic actor

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Martin Scorsese’s moving, nostalgic 2019 film “The Irishman,” featuring his long-term collaborator Robert De Niro, seemed like a contemplation or perhaps even a tribute to the type of gangster movies that they had made iconic. It was as if Scorsese was bidding adieu to the genre, reflecting on the significance of narrating tales about violent men and pondering over what it signifies to tell such stories.

However, contrary to previous assumptions, De Niro is returning for one more project, titled “The Alto Knights,” which brings him together with frequent collaborator Barry Levinson once more. Notably, this film is scripted by Nicholas Pileggi, known for penning both “Goodfellas” and “Casino.

As a movie enthusiast, I’ve stumbled upon an intriguing twist: Robert De Niro takes on two roles in this film, portraying both Frank Costello and Vito Genovese – real-life Italian American mob figures who have left their mark on countless movies and documentaries. The time when De Niro and Al Pacino graced the screen together for the first time over coffee in “Heat” by Michael Mann was groundbreaking, and here we see a similar setup as De Niro squares off against his own self, albeit without the same electric charge.

It’s evident that “The Alto Knights” takes on more significance within Robert De Niro’s body of work rather than as a self-contained film. Similar to “The Irishman,” it carries a contemplative tone, serving as a rumination on the genre of mob movies. This film underscores the immense impact that De Niro’s acting and his association with the gangster movie have had, making him the ideal choice to portray characters like Costello and Genovese. In essence, there’s hardly anyone else who can challenge him, except perhaps himself.

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As a passionate cinephile, I’ve found myself reflecting on my 10-year journey here in the City of Angels – Los Angeles. This bustling metropolis has been more than just a backdrop for my films; it’s been a crucible where I’ve sought self-improvement through cinema. And as I stand on the precipice of my next project, I am eager to share a tale inspired by the profound teachings of Jesus.

In Robert De Niro’s portrayal of Genovese, he appears more energetic and spontaneous compared to Costello, giving an impression reminiscent of his co-star Joe Pesci in “Goodfellas,” “Casino,” and “The Irishman.” Initially, it takes some time for the audience to adapt to De Niro’s double role (he wears heavy prosthetics), but as the movie progresses, the artificiality gradually becomes less noticeable.

Attempting to summarize all the struggles faced by the Genovese crime family throughout the early 20th century would be an impossible task, and both Levinson and Pileggi acknowledge this, instead focusing on selected significant events in the history of the long-standing relationship between Costello and Genovese. They primarily focus on Genovese’s unsuccessful assassination attempt on Costello in 1957, while briefly depicting their past through a series of swift scenes.

The story unfolds in an unconventional manner, using a larger context where Robert De Niro portrays an elderly Costello who gives a documentary-style interview to an off-screen interviewer. This conversation forms the voiceover for the movie. Barry Levinson frequently illustrates Costello’s stories about his life and career by combining real and staged archival photos and footage, offering glimpses of history as a tribute to the authenticity of this true story.

Despite some noticeable quirks in style and narrative, along with the twin performances of Robert De Niro, these elements can occasionally be a bit distracting. However, as “The Alto Knights” progresses towards its action-packed segments, you’ll find it hard not to get swept away by Levinson’s skillful direction and De Niro’s acting prowess. Though the assassination attempt serves as the central plot point, the Senate hearing on organized crime and a subsequent gathering of mob bosses in upstate New York are the scenes that truly captivate in “The Alto Knights.

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The movie is lively during action scenes, such as Costello defying the family’s vow of silence by not invoking the Fifth at his Senate hearing or during a humorous sequence where he intentionally misses a countryside meeting to avoid being caught up in a police raid he instigated. However, it loses momentum when it delves into lengthy discussions about betrayal and deceit in private settings.

While “The Alto Knights” offers a fresh perspective on the mob movie genre through its meta-commentary, it still embodies the traditional charm of the genre that fans appreciate. It’s delightful to see veteran actors portraying their roles and Cosmo Jarvis (from “Shōgun”) excels, almost unrecognizably transforming into crime lord Vincent Gigante.

As I sat down to review “The Alto Knights,” I couldn’t help but draw parallels with Martin Scorsese’s masterpiece, “The Irishman.” While it doesn’t quite scale the emotional and philosophical heights of that epic saga, it shares a similar tone – a reflective look back on a lifetime of violence woven through the fabric of cinema.

Intriguingly, there’s a poignant observation at its conclusion: that for immigrants in the 20th century, this path of organized crime was one of the few ways to claw their way towards the elusive American Dream. This notion echoes throughout every American gangster movie, giving depth and relevance to this curious film.

Admittedly, I wished it had delved deeper into the psyche of a gangster, but even without that exploration, its core themes resonate powerfully.

Katie Walsh is a Tribune News Service film critic.

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2025-03-22 00:31

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