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When asked a question, especially on his favourite subject of motion pictures and the industry, Quentin Tarantino always delivers a rambling response, seen as waffle by some but invaluable by aficionados of the business. However, whatever your stance, a gem is unearthed amongst the gobbledegook when he says that "Leone has topped the Dollars Trilogy!" Once Upon a Time in America is Sergio Leone's magnum opus, a classic work of cinema on every level with its epic length, wonderful cinematography, and effective open-ended narration. Stylistically, Leone once again meets expectations throughout with the absolutely stunning Prohibition-era shooting of New York. Robert De Niro's Noodles more than fills the shoes of Eastwood's anonymous figure as we reflect on his days in the mob. James Woods' Max is also excellent, and the conflict of ideas in the direction of the gang between Noodles and Max is great to see develop. These two are obviously the most notable because they play the largest roles, but the support cast compliment them terrifically. Joe Pesci, Elizabeth McGovern and a young Jennifer Connelly all provide different colours to help Leone paint his portrait of 20th century urban Brooklyn.
My favourite film is Francis Ford Coppola's The Godfather (1972) and it is easy to see how Leone's work of genius can be seen as being very similar and yet still opposed in technique and function to the ultimate gangster motion picture. It could be argued that Once Upon a Time in America isn't necessarily a gangster film at all because it seems more concerned with characterization and overtones of a period piece. Nevertheless, both films have immense ensembles, vastly brilliant visuals and a sprawling running time. Coppola's operatic look at the family however gives us the answers to immigration woes and mob success whilst Leone happily seems content with the mysticism of his picture - similarly to how he never gave Eastwood's character a name in his Dollars Trilogy. What actually happens to Max? Is Noodles in an opium-influenced dream? In addition, as many critics have suggested, if the beautifully shot Manhattan Bridge represents a path to freedom from the poverty stricken ghettos, why does nobody ever cross it?
Luckily the Special Edition contains the coherent yarn which makes a change from the controversy of the original American cut which made no sense. Ennio Morricone, yet again, conjures up the tremendous feel of the film with his fantastic score, flawlessly connecting with the infamous script which took 12 years to complete. Most directors would be in awe of such a large project and dismiss the possibility of production as a dream. Leone makes the whole thing work though as he leads us through 40 years of American history, constantly delighting the viewer. This ambitious film is filled with subplots, memorable scenes, and one of De Niro's greatest ever performances, and that whole combination alone should not be missed. You really do have to marvel at such an enchanting and classic marathon of cinema.
The extras
The Leone documentary is only a pitiful 20 minutes long and is highlighted by the pedestrian thoughts of Tarantino, and even then he never really kicks into his high trademark nerd-gear. The commentary is by the film critic Richard Schickel and is nothing special. A trailer is also included, but the photo stills are the best thing about the two discs as it is such an extensive collection of rare photos from the production process. The visuals and music are outstanding. For a "Special Edition" though you will feel short-changed for a film that would have come into its element on DVD.
The summary
Sergio Leone has the ability to keep you focused for nearly four hours, and if you duly concentrate by obeying the gorgeous urges of this film, you will be extremely well rewarded. Tremendous storytelling on an operatic scale.
