Once Upon a Time in America

Once Upon a Time in America is a capriciously simple and fragmented film. And yet I was greatly impressed by it. Whenever I think of Morricone’s central motif, a feeling of warmth washes over me joined by visions of the silhouette of the greying Robert De Niro, the young and beautiful Jennifer Connelly and the enormous Brooklyn Bridge. Once Upon a Time in America is both tough and tender, but is primarily a beautifully poetic film that will slowly unfold in your thoughts and take on greater importance with each passing day. (2004-07-04)

Although many comments try to do it, Leone's gems with the poetic "Once upon a Time" in the title are completely incomparable. In his masterpiece, the Master has included almost every genre. I found classic crime schemes, tough gangster action, heart-wrenching drama, and despite its harshness, also a strong and sincere romance, all with a subtle veil of social criticism. When watching the director's cut, I cannot imagine a single scene that I could miss. I am listing the individual aspects here, but the power of this monument cannot be described with words. (2006-04-13)

I would love to write about this dream project of Sergio Leone, to which he devoted many years of his life, that I was so absorbed at the beginning and at the end I didn't want to go back to reality. Unfortunately, I can only say that about the first half, especially the period of Noodles's childhood, which was beautifully and sensitively filmed. The rest, however... First of all, the fact that Leone’s dream epic doesn't bore at all and doesn't feel draggy despite its nearly four-hour runtime is only due to his directorial mastery. Unfortunately, it falters a bit on the screenwriting front. It's as if Leone took too big a bite, or as betelgeuse rightly points out here, as if he had made a series, but lost a few episodes and artfully glued the rest together. Some of the characters are underdeveloped, and at times it's hard to trust the motives behind their actions. For example, the character of Joe Pesci, promisingly sharp, there’s a shot of him by a hospital elevator as if the director was suggesting "Watch out, he's still here!", but suddenly he disappears somewhere and incomprehensibly does not appear in the film anymore. I didn't believe James Woods for a second at the very end, nor did I believe his intended action, and I found the whole point about him quite implausible. However, what must definitely be appreciated is the absolutely precise, to the smallest detail elaborate design, the visual depiction of three different stages of the 20th century. Leone's perfectionism went so far that even for one short shot he was willing to "coach" hundreds of extras, believably period-styled and moving in a perfect set. Even the aged De Niro looked excellent, though perhaps it’s a little puzzling that the filmmakers did not bother too much with the character of Deborah, whose 35-year difference was not noticeable and as an almost 60-year-old woman she still looked like a 20-year-old girl. All in all, I am satisfied, but I can safely say that Once Upon a Time in the West remains unsurpassed. (2004-09-19)

Sergio Leone breathtaking again. I don't know if it’s true that the script took 12 years to develop, but looking at the final quality and refinement of this film, I could easily believe it. The 220 minutes run like a well-oiled machine, the actors perform like clockwork, and Ennio Morricone contributes another unforgettable soundtrack. All this accompanied by a monumental story that manages to grip the viewer so tightly that there is no chance of release before the closing credits. Leone weaves the three storylines very nicely, giving the viewer space to become as attached to the characters as possible and to take in the atmosphere of the prohibition era in which much of the action takes place. But it’s only at the very end that we realize how beautifully all of that has worked all along, and what a wonderfully compelling and thoughtful work we have just had the privilege of seeing. And that’s where I see the greatest magic of Once Upon a Time in America. (2012-07-31)

Once Upon a Time in America was a film that Sergio Leone had been preparing for many years and was supposed to be the culmination of his work. In reality, it turned out to be a major disaster and probably shortened Leone's life by a few years. Finding a producer was already extremely difficult because, with Leone's well-known meticulousness, the costs were dangerously high. Moreover, the film was incredibly long, especially for the standards of the early 80s. The producer simply couldn't imagine that a four-hour epic would be acceptable to the audience, and since in the United States the producer is practically the owner of the film, he dealt with it in his own way. He cut it in half and released this butchered version in movie theaters. Because Leone's story takes place in multiple time frames, the crude interventions resulted in a debacle that the critics tore apart and the audience jeered. The film became one of the worst flops of the decade and, considering the high costs, it meant the actual end of Leone's directing career. He never experienced rehabilitation until his death, which came six years later with the release of the original director's cut. Yes, it is very long, but at the same time, it is very captivating, professionally shot, and grandiose. Over time, film fans and professional critics have evaluated Leone's film as one of the most significant in American cinema. For many actors, it was the pinnacle of their film careers, although in some cases, admittedly, somewhat premature (Elizabeth McGovern). Overall impression: 90%. (2008-01-08)