The curtain rises on a new chapter in gangster cinema with the release of The Alto Knights, a film that weaves together the complex relationship between two of New York's most notorious mobsters, Frank Costello and Vito Genovese. Directed by Barry Levinson and featuring the acclaimed Robert De Niro in a dual role, the film re-examines a historical narrative that many thought was already familiar. With a theatrical release on March 21, 2025, the anticipation surrounding this film aligns with the historical significance of its subject matter.
Setting the stage in the bustling streets of New York, The Alto Knights opens thrillingly in 1957 with a botched execution in Frank’s luxurious Manhattan apartment building. As the bullet miraculously glances off his scalp, Frank recognizes the assailant, a goon named Vincent “The Chin” Gigante, who was sent by Vito. Not one to resort to unnecessary violence immediately, Frank decides to take a wait-and-see approach, preferring to ‘slow-cook’ his revenge, a strategy that not only garners sympathy but also forces the public and government to acknowledge organized crime’s long-standing influence.
Written by Nicholas Pileggi, a notable figure in the gangster genre, The Alto Knights spans several decades while it chronicles how a group of amoral immigrants exploited Prohibition to establish their criminal enterprises. Pileggi's narrative weaves through time, showcasing the rise of both Costello and Genovese as they maneuver through the treacherous world of organized crime; their relationship, filled with ambition and rivalry, shapes the course of their futures. The intricacies of their bond are portrayed not just through dialogue but also through a mix of flashbacks and stylistic techniques that check off the conventional boxes of the genre, while also delving deeper into the emotional labyrinth of their intertwined lives.
De Niro's portrayal of Costello presents him as a meticulous, almost refined gangster whose fondness for avoiding violence earns him the title of the ‘prime minister of the underworld’. His marriage to Bobbie (played by Debra Messing) highlights a stabilizing force in his life. On the other hand, Genovese, who De Niro also brings to life, is depicted as unpredictable and violent, serving as a foil to Frank's more diplomatic approach. As a member of the Luciano crime family, Vito’s unexpected return from exile stirs the pot, igniting a brutal clash between old friends turned adversaries.
The visual elements of the film, including multiple staging periods using both old photographs and archival footage, lend an authenticity that pays homage to the history it aims to capture. Levinson utilizes these techniques to support the narrative's flow, though they sometimes contribute to an overall impression of redundancy within the film’s storytelling. As critics have pointed out, much of the film suffers from the weight of past gangster epics, leading some to feel The Alto Knights at times feels more like a collection of historical footnotes rather than a cohesive story.
The film introduces key supporting characters, such as Anna Genovese, Vito's increasingly frustrated wife, played by Kathrine Narducci. The tension within their relationship acts as a lens through which the audience can view the volatility of Vito’s character, and their interactions serve to further enrich the ensemble, emphasizing the emotional stakes at play. Similarly, Debra Messing’s Bobbie stands as a cradle of stability against Frank’s turbulent world, contrasting the explosive chaos brought forth by Genovese’s aggressive demeanor.
Even with an impressive cast, a notable director, and a celebrated screenwriter behind it, The Alto Knights grapples with expectations set by iconic predecessors. The film’s pacing and more sedative moments evoke comparisons to a ‘grandfather’s storytelling’ style, with some reviewers noting that parts resemble a rambling reflection rather than a taut crime thriller. Indeed, the pacing can feel sluggish, meandering through scenes that, while rich in detail, do not evoke the sharp intensity of the structured storytelling typically associated with Levinson’s earlier art.
However, De Niro’s dual performance can’t go unnoticed. He portrays both men with distinct characteristics, serving up a riveting if sometimes frustrating reminder of a seasoned actor’s dedication to his craft. Critics have acknowledged this aspect favorably, noting that De Niro brings depth to both personas, each embodying different facets of a life of crime — the meticulous planner and the hot-headed enforcer. His interpretations provide audiences much to engage with, even as the film's pacing may allow some moments to sag.
The climax of The Alto Knights, reminiscent of Scorsese’s intense storytelling style, fails to deliver the same impact; while the anticipation builds, the execution lacks the fervor typically expected from productions of this caliber. The ultimate confrontation between Costello and Genovese, marked more by nostalgic reflection than explosive action, culminates in a rather pedestrian exploration of themes of loyalty, betrayal, and the costs of the life they led.
In a landscape where gangster narratives are abundant, the release of The Alto Knights brings both enthusiasm and trepidation to fans accustomed to the genre's electrifying rhythms. As the film nears its premiere, it compels audiences to remember the roots of organized crime while encouraging reflections on the cycle of Violence and power dynamics. While it may seem familiar to ardent fans of mob movies, De Niro's performances and Levinson's direction aim to leave a compelling mark on a storied genre.
In the end, while The Alto Knights might not break new ground, its exploration of morality, friendship, and the corrosive power of crime resonates as a poignant reminder of the men at the top of the criminal hierarchy, inviting audiences to reflect on how personal motivations intertwine with the often unforgiving nature of the underworld.
