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One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening. He employs a lot of fast cuts while presenting very stylized, documentary-like footage.

The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.

This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.

This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.

That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy.

All the material is necessary to the story, but it could have been tightened up a lot more. While I like the songs--I've owned the CD since it came out and I listen to it often enough--and the songs can help set the mood for some scenes, they become a bit too incessant and overbearing for the story after awhile.

It begins to approach the dreaded "mix tape" mentality, where the songs are just there because the director wanted to share some bitchin' tunes that he likes a lot.

A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better.

Presumably, Scorsese was shooting for something like a sensory assault, since that's what you get in Vegas. The visuals are filled with neon lights, flashy clothes I love Rothstein's suits , flashy people and such.

The soundtrack is probably meant to match. But in that case, if I were directing, I think I would have went for a combination of commissioned music that incorporated a lot of casino sounds, or that mimicked a lot of casino sounds--the cacophonous electronic symphony of various machines constantly going through their modes--with schmaltzy show tunes, ala Liza, Jerry Vale, Tom Jones, Wayne Newton, etc.

That Scorsese was trying to give a Vegas-styled sensory assault is also supported by the audio-visual contrast between the Vegas scenes and the scenes in other locations, such as Kansas City.

So I can understand the motivation, but I'm not sure the final result exactly worked. Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods.

The plot and characters are written and performed so that the viewer can see the disasters coming way before the characters can--and that's how it should be.

For example, as a viewer, you know as soon as it starts that it's a bad idea for Rothstein to kowtow to McKenna to win her hand in marriage, but Rothstein is blind in love and he ends up paying for it.

Everything unfolds almost a bit predictably in this respect, and another slight flaw is that we're shown the penultimate moment of the film right at the very beginning.

It tends to make it feel even more stretched out, as you keep anticipating that scene. But the slight flaws shouldn't stop anyone from seeing this film, and of course, quite a few viewers feel that there are no flaws at all.

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Once Upon a Time in America Full Metal Jacket Lee Ermey, Vincent D'Onofrio. Lock, Stock and Two Smoking Barrels Edit Cast Cast overview, first billed only: Sam 'Ace' Rothstein Sharon Stone Ginger McKenna Joe Pesci Nicky Santoro James Woods Lester Diamond Don Rickles Billy Sherbert Alan King Andy Stone Kevin Pollak Pat Webb Dick Smothers Frank Marino John Bloom Don Ward Pasquale Cajano Remo Gaggi Melissa Prophet Jennifer Santoro Bill Allison John Nance Vinny Vella Impressed with his work, Mafia boss Remo Gaggi sends Sam's childhood friend and mob enforcer Nicholas "Nicky" Santoro, Nicky's younger brother Dominick, and trusted associate Frank "Frankie" Marino to protect Sam and the whole operation.

Nicky's volatile temper soon gets him banned from every casino in Las Vegas, so he, Dominick, and Frankie gather their own crew and engage in independent shakedowns and burglaries, instead.

Sam meets and falls in love with a hustler and former prostitute, Ginger McKenna. They conceive a daughter and marry, but their marriage is made difficult by Ginger's covetousness and love for her manipulative former boyfriend, con artist-turned pimp Lester Diamond.

Lester is beaten severely by Sam and Nicky after they catch him conning Ginger out of some money. Ginger subsequently turns to alcohol.

Meanwhile, Sam makes an enemy in county commissioner Pat Webb for firing Webb's brother-in-law Don Ward for incompetence. When Sam refuses to reinstate Ward, Webb pulls Sam's license from the backlog, forcing him to face a hearing for his gaming license, while secretly arranging for the board to deny Sam.

Sam blames the incident on Nicky's recklessness, and the two argue furiously in the desert after Sam attempts to tell Nicky to leave Las Vegas.

Meanwhile, the casino counters begin skimming money for themselves, prompting the Midwest Mafia bosses to put Kansas City underboss Artie Piscano in charge of overseeing the transactions.

Piscano is unable to find the thieves, but keeps tabs on everything he knows about Las Vegas in a private notebook and rants about it in his grocery store.

The FBI, investigating a separate crime, have wired Piscano's store, and Piscano's detailed complaints, complete with names, spurs the FBI to begin investigating the casino.

Tired of her alchoholism, Sam finally seeks to divorce Ginger. Ginger then kidnaps their daughter, Amy, takes her to Los Angeles, and plans to flee to Europe with her and Lester.

Sam convinces Ginger to come back with Amy, and then scolds her for stealing his money and kidnapping their daughter. After he overhears Ginger talking on the phone about killing him, Sam kicks her out of the house, but soon relents.

Ginger then approaches Nicky for help in getting her valuables from her and Sam's shared safety deposit box, and the two start an affair.

Sam discovers this after finding Amy tied to her bed by Ginger, who is with Nicky at his restaurant. Sam disowns Ginger, as does Nicky.

A furious and drunk Ginger crashes her car into Sam's driveway, making a scene, and retrieves the key to their deposit box after distracting the attending police.

Even though she succeeds in taking all of the money from the safety deposit box, she is arrested by the FBI as a material witness. The FBI moves in and closes the casino.

Green decides to cooperate with the authorities. Piscano dies of a heart attack in front of his wife upon observing federal agents discover his notebook.

Nicky flees Las Vegas before he can be caught. The bosses are arrested and put on trial and decide to eliminate anyone involved in the scheme to prevent them from testifying.

Among those killed are three casino executives, Teamsters head Andy Stone, and money courier John Nance. Ginger travels to Los Angeles and ultimately dies of a drug overdose in a motel.

Sam himself is almost killed by a car bomb and suspects Nicky was behind it. Before Sam can take revenge, Nicky and Dominick are ambushed by Frankie and their own crew, beaten, and buried alive in a cornfield, the bosses' having had enough of Nicky's behavior and suspecting his role in Sam's car bombing.

With the Mob now out of power, the old casinos are purchased by big corporations and demolished.

The corporations build new and gaudier attractions, which Sam laments are not the same as when the Mafia was in control.

Sam subsequently retires to San Diego and continues to live as a sports handicapper for the Mob, in his own words, ending up "right back where I started".

The research for Casino began when screenwriter Nicholas Pileggi read a report from the Las Vegas Sun about a domestic argument between Frank "Lefty" Rosenthal , a casino figure, and his wife Geri McGee , a former topless dancer.

Argent was owned by Allen Glick, but the casino was believed to be controlled by various organized crime families from the Midwest.

This skimming operation, when uncovered by the FBI, was the largest ever exposed. Pileggi contacted Scorsese about taking the lead of the project, which became known as Casino.

Scorsese and Pileggi collaborated on the script for five months, towards the end of

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