Once Upon a Time in America

I could bend over backward, and I still probably wouldn't find any mistakes in Once Upon a Time in America. For almost four hours, Sergio Leone tells us what it means to have a friendship beyond the grave. With an almost unhealthy precision, it closely observes the three-generational clash of men who had no other choice but to do what they did since their youth. Building an empire with all its pleasures and problems. Love, hate, virtue, mistakes, and that friendship... All this in a mesmerizing audiovisual setting. Hypnotic music by Ennio Morricone with a beautifully catchy melody. Long and slow camera "walks." A brilliant shot focuses on a street where a group of boys is crossing, with the iconic Brooklyn Bridge towering in the background, nestled between two buildings. Perfection. Which time period is the best? That's a tough question. Youth, with all its worries, abounds with that childlike look of boys whom the street has forced to grow up all too soon. The central and longest part depicts their built empire during its peak prosperity until the final stage, where the inevitable reckoning of their past actions takes center stage. Leone transitions between these periods subtly and unobtrusively, but always the contrast of period diversity is incredibly beautiful. I have a warm feeling in my heart that I sacrificed four hours for something so spectacular and hard to describe. Master, from the bottom of my heart, thank you... (2005-02-15)

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)

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)

What Sergio Leone delivers here is almost perfect. Amazing atmosphere and storytelling, and flawless performances. The brilliant script and its three timelines are a testament to genius. Leone was originally meant to direct The Godfather, but he knew why to wait. This film is better. (2004-05-17)

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)