Review of GoodFellas (1990) by Rollingstone82 — 12 Aug 2010

An amazing film that shows mob life at its grittiest, goriest, lowest levels.

I loved Goodfellas. Every time I watched it, it still felt great. But one thing really perked me. How is it a classic? It is one of the best movies I ever watched but why is it so revered? I watched it another time just to keep my eye out for details.

Now I understand.

It isn't easy. Especially to praise a film with countless violence and seemingly aimless profanity (300 f words total). But Goodfellas isn't about that. It's about the story. It's about the array of characters. It's about the suspense. It's one of the most accurate portraits of mob life, specifically those in the lower end of the food chain.

THe story is narrated by Henry Hill, an ex-mobster who explains his dreams of becoming a gangster. Through Henry's eyes, being a gangster was everything. Money. Cars. Girls. Respect. Nobody would dare talk rough to a gangster. And the cops could care less too. Our main man Henry, narrates his 30-year career as a mob member from parking cars to setting cars on fire to dealing drugs to carrying out dastardly schemes (the infamous Lufthansa heist). In the end, Henry is forced to give up his mob life and expose his fellow gangsters after learning his best friend is going to kill him. Even then, he still misses his old life stating that he is now a regular guy aka a nobody, a "schnook".

Robert De Niro is charming yet cunning as Jimmy Conway. He smiles but behind is a greedy desire. He makes sure he gets what he wants and those who don't follow him get whacked. Joe Pesci, the show stealer, gives a fiery performance as the short-tempered Tommy De Vito. He wants respect and one word is enough to make him go berserk. Ray Liotta and Lorraine Bracco both give fine performances even though they are the most thankless roles in the film.

Dialogue is a highlight even if it is laced with numerous profanity. But the music is something that really adds to the success. The eclectic rock soundtrack fits its scenes like a modern-day orchestra. Scorsese is able to fit a piano version of Layla and a montage of dead bodies so perfectly. That is a rare gift.

Once again my favorite director stuns me with another classic that I now fully realize as a classic. It may not be his best (that would be Taxi Driver) but it definitely is one of them.