Category: Crime

13 Epic Facts About “Once Upon a Time in America”

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Eric D. Snider and Mental_Floss present 13 Epic Facts About Once Upon a Time in America.  Here are three of my favorites…

1. SERGIO LEONE TURNED DOWN THE GODFATHER TO MAKE IT. 
By his own account, Once Upon a Time in America was Leone’s pet project, the one he devoted most of his adult life to making. He became interested in the story while he was making 1968’s Once Upon a Time in the West , and was so fixated on it that when Paramount approached him a few years later to make The Godfather, he politely declined. If he’d known it would take another 12 years to get Once Upon a Time in America produced anyway, maybe he would have accepted. But then where would Francis Ford Coppola be?

8. NOBODY HAS EVER SEEN LEONE’S COMPLETE VERSION.
After the nine-month shoot, Leone had eight to 10 hours’ worth of material. He trimmed it down to six hours, hoping to release it in two three-hour parts, but the producers were having none of that. So he reduced it to 269 minutes—four and a half hours—but it still wasn’t enough. He chopped out another 40 minutes, and this 229-minute version is what premiered at the 1984 Cannes Film Festival and subsequently played in European theaters.

American distributors butchered the film even more, cutting out another 90 minutes and rearranging the scenes into chronological order (no more flashbacks), which rendered the movie incomprehensible. The American version flopped, of course, and Leone was devastated. A Martin Scorsese-led effort to restore Leone’s original version resulted in a 251-minute cut playing at Cannes in 2012, but some 18 minutes were still missing due to legal issues over who owned the missing scenes. The 251-minute version is now available on Blu-ray and DVD. Someday, perhaps the complete version will be restored.

12. LEONE WAS A PERFECTIONIST. 
Leone and De Niro had their different approaches, but one thing they had in common was perfectionism. According to one of the screenwriters, Leone did 35 takes of a large (and expensive) crowd scene, only to insist on one more because he noticed a kid in the crowd looking directly at the camera.

10 Deliberate Facts About “12 Angry Men”

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Eric D. Snider and Mental_Floss present 10 Deliberate Facts About 12 Angry Men.  Here are three of my favorites…

2. IT’S THE ONLY FILM HENRY FONDA EVER PRODUCED. 
The actor saw the TV production and felt strongly that it would make a great movie. Unable to find any producers willing to take a risk on it (a serious, single-room drama in a time when colorful widescreen epics were in fashion), Fonda teamed up with the writer, Reginald Rose,to produce it themselves. Fonda wound up hating the experience—not the acting side, which he loved (and he was always very proud of the film), but the business side. He hated having to worry about financial and logistical details, and couldn’t stand watching himself in the daily rushes (which producers, but not necessarily actors, are expected to do).

5. IT USES CAMERA TRICKS TO INCREASE THE TENSION.
The problem with making a film set entirely in one room is that it’s bound to get boring, visually speaking (unless it’s a very interesting room, which a jury room is not). Lumet also realized he couldn’t have his characters moving around very much, meaning most of the “action” would involve sitting around a table. So he had the camera move a lot instead. He and his cinematographer, Boris Kaufman (who won an Oscar in 1955 for On the Waterfront), also devised some photographic methods of amplifying the movie’s tone. Lumet wrote: “I shot the first third of the movie above eye level, shot the second third at eye level, and the last third from below eye level. In that way, toward the end, the ceiling began to appear. Not only were the walls closing in, the ceiling was as well. The sense of increasing claustrophobia did a lot to raise the tension of the last part of the movie.”

8. LUMET WAS ONLY THE THIRD PERSON TO GET A BEST DIRECTOR NOMINATION FOR HIS DEBUT FILM.
Orson Welles had been nominated for Citizen Kane, and Delbert Mann had actually won forMarty. About 20 directors have since been Oscar-nominated for their debuts. (Six have won.)

‘THE GODFATHER’: A HISTORICAL CURIOSITY THAT PROVED INSTRUMENTAL FOR OUR FILMMAKING EDUCATION AND APPRECIATION

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Those are Francis Ford Coppola’s notes from a page of Mario Puzo’s novel The Godfather.  If you’re a fan of The Godfather movies and love behind-the-scenes materials, then you’ll absolutely love Cinephilia and Beyond’s ‘THE GODFATHER’: A HISTORICAL CURIOSITY THAT PROVED INSTRUMENTAL FOR OUR FILMMAKING EDUCATION AND APPRECIATION.

If you click over, plan to stay a while because there are a treasure trove of Godfather items waiting.

How We All Miss the Point on School Shootings

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I try to keep our posts here light, fun and focused on some aspect of entertainment.  My hope is that the folks who drop in daily will get a smile.  Sometimes, and it is rare, I post something serious.

I thought that Mark Manson’s How We All Miss the Point on School Shootings was one of those rare, serious pieces worth posting.  I hope regular readers will as well.

If you just drop in for the entertainment posts, have no worries, we’ll be back to the fun stuff with the next post.

13 Fascinating Facts About “Miller’s Crossing”

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Matthew Jackson and Mental_Floss present 13 Fascinating Facts About Miller’s Crossing.  Here are three of my favorites…

2. THE COEN BROTHERS TURNED DOWN BATMAN TO MAKE MILLER’S CROSSING.
After Raising Arizona’s success established them as more than one-hit indie film wonders, the Coens had some options with regard to what project they could tackle next. Reportedly, their success meant that they were among the filmmakers being considered to make Batman for Warner Bros. Of course, the Coens ultimately decided to go the less commercial route, and Tim Burton ended up telling the story of The Dark Knight on the big screen.

8. GABRIEL BYRNE HAD TO CONVINCE THE COENS TO LET HIM KEEP HIS IRISH ACCENT.
Though he was an Irish native playing a lieutenant to an Irish mobster, the Coens did not originally want Gabriel Byrne to use his own accent in the film. Byrne argued that his dialoguewas structured in such a way that it was a good fit for his accent, and after he tried it, the Coens agreed. Ultimately, both Byrne and Finney used Irish accents in the film.

11. JON POLITO HAD TO CONVINCE THE COENS TO CAST HIM IN A DIFFERENT ROLE.
When Polito read the Miller’s Crossing script, he loved it and immediately wanted to audition for the role of Johnny Caspar. The Coens had different ideas, and were considering the 39-year-old actor for the role of Caspar’s enforcer, Eddie Dane, instead. The role of Caspar was originally supposed to go to an actor in his mid-50s, but Polito was adamant.

“Anyway, I said I won’t read for anything but Johnny Caspar,” Polito told The A.V. Club. “’And tell them that they’re gonna have to come back to me cause I’m gonna play Johnny.’”

The Coens ultimately gave in, and Polito was cast. They must have liked what they saw, too, because they ended up casting him in four more films after that.

11 Expert Facts About “Leon: The Professional”

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Tara Aquino and Mental_Floss present 11 Expert Facts About Leon: The Professional.  Here are three of my favorites…

1. NATALIE PORTMAN’S PARENTS WERE COMPLETELY AGAINST HER PLAYING MATHILDA.
It was an extremely complicated role for an 11-year-old: Not only would she have to deal with a broken home and violence, but she’d also have to deal with the unwanted sexualization of a young girl. In Starting Young, a documentary about Portman that’s included on the 10th anniversary DVD edition of Léon, the actress admits that after she read the script, she was so moved to tears by the film that she knew she had to have the role. Her parents weren’t as convinced. “My parents were like, ‘There is no way you’re doing this movie. This is absolutely inappropriate for a child your age … and I was like, ‘This is the greatest thing I’ve ever read! You’re gonna ruin my life!’” she shares in the doc. “[I] was basically just fighting with them so much.”

4. PORTMAN’S PARENTS ARE THE REASON WHY MATHILDA QUITS SMOKING IN THE FILM.
As per the agreement Portman’s parents outlined with Besson, the actress was allowed five fake cigarettes in her hand during the entire film shoot, and she was never allowed to inhale a single one of them. If you pay close attention to her character, you’ll see that she only puts the cigarette to her lips, but never blows smoke out. Additionally, her parents demanded that her character quit smoking at some point in the movie. In the film, Léon scolds Mathilda for smoking, and later you see her throwing her unfinished cigarette away when she’s alone.

10. BESSON HAS SHUT DOWN RUMORS THAT A SEQUEL IS IN THE WORKS.
So stop asking. During his press tour for Lucy, Besson told The Guardian, “You can’t imagine how many people ask me for a Léon sequel. Everywhere I go they ask me. If I was motivated by money, I would have done it a long time ago. But I don’t feel it.”

In an earlier interview with Cinema Blend, Besson elaborated on the topic, saying, “Natalie is old now, she’s a mother … It’s too late. If I got an idea tomorrow about a sequel, of course I would do it. But I never came up with something strong enough. I don’t want to do sequels for money; I want to do a sequel because it’s worth it. I want it to be as good or better than the original.”

$2 Billy the Kid Photo Expected to Bring $5 Million at Auction

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In 2010, Randy Guijarro purchased the vintage photo above for two bucks. Guijarro is a collector of old photos and the shot of some folks in the wild west playing croquet would make a nice addition to his collection.

It was recently confirmed that one of the croquet players in the photo is none other than Billy the Kid and the other folks playing are the Kid’s gang known as the Lincoln County Regulators.

The photo has been verified to be legit and is going to auction.  Guijarro’s two buck purchase could bring in as much as five million dollars.

I’m not sure which surprises me more…

  1. The fact that someone recognized that the small figure in the photo was Billy the Kid.
  2. That a two dollar purchase is going to bring in millions.
  3. Billy the Kid, the notorious killer was playing croquet.

Source: People.

A New Photo of Jesse James has Surfaced!

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A new photo of Jesse James has surfaced.  Not only that, but James is seated next to Robert Ford, the “coward” who shot James in the back.

Lois Gibson, a forensic analyst who has compared the “new” photo to other verified images of James has given it her seal of approval.  If this photo turns out to be legit, then the owner, Sandy Mills, will make out like a, uh… bandit, when she decides to sell it.

Source: Mental_Floss.

13 Fascinating Facts About “Natural Born Killers”

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Roger Cormier and Mental_Floss present 13 Fascinating Facts About Natural Born Killers.  Here are three of my favorites…

1. QUENTIN TARANTINO WROTE THE ORIGINAL SCRIPT.
It was titled Mickey and Mallory and focused more on the media than on Mickey Knox and Mallory Wilson. He sold the rights to the movie for $10,000 because he was unable to get it made himself (this was before Pulp Fiction). Tarantino ended up getting a story credit forNatural Born Killers, while Richard Rutowski, Oliver Stone, and David Veloz each got a screenwriting credit.

3. MICHAEL MADSEN ALMOST TOOK THE LEAD.
Michael Madsen was considered for the lead role of Mickey: “Oliver Stone wanted me, but the studios offered him an extra $20 million to cast Woody Harrelson,” Madsen told The Guardian.

11. MICKEY AND MALLORY DIE IN THE ALTERNATE ENDING.
The killers survive in the final version because Oliver Stone believed that the 1990s were a time when the bad guys got away with it.

13 Fascinating Facts About “Dog Day Afternoon”

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Eric D. Snider and Mental_Floss present 13 Fascinating Facts About Dog Day Afternoon.  Here are three of my favorites…

2. THE REAL BANK ROBBER LOOKED A LOT LIKE AL PACINO.
Fluge’s magazine article described John Wojtowicz as “a dark, thin fellow with the broken-faced good looks of an Al Pacino or Dustin Hoffman,” so naturally the screenplay found its way into both actors’ hands. (Pacino was Lumet’s first choice, but Hoffman was reportedly approached when Pacino, seeking to take a brief break from movies, initially turned it down.) We see a bit more De Niro in Wojtowicz than Pacino or Hoffman, but Pacino was a good fit, too.

9. THEY LOST A DAY’S WORK BECAUSE OF PACINO’S MUSTACHE.
One of the things the actor did as a means of getting into character was grow a mustache—not because the real robber had one, but because the character was gay, and in the mid-’70s, many gay men had mustaches. In Lumet’s words, however, Pacino’s mustache “looked terrible.” And after the first day of filming, Pacino agreed. Watching the footage, Pacino told Lumet, “The mustache has got to go,” and asked if he could shave it and redo that day’s work. Lumet agreed, and the mustache was gone—as was a day’s worth of footage.

10. IT’S THE ONLY TIME LUMET EVER INCORPORATED IMPROVISATION INTO ONE OF HIS MOVIES.
Sidney Lumet’s first film was 1957’s 12 Angry Men. He made 20 more between that and Dog Day Afternoon (and 22 more afterward), and by his own account, he never used improv. “I don’t like actors to improvise, to use their own language,” he said in the Dog Day AfternoonDVD commentary. “They are not going to come up with something … better than a really talented writer who has done months of work on something.”

But as Lumet and the cast rehearsed Dog Day Afternoon—especially the parts where the robbers and bank employees are just sitting around killing time—someone asked about the possibility of improv, and Lumet realized it could be useful for helping the actors bond, as well as making the characters’s interactions feel more natural. With screenwriter Frank Pierson present, Lumet let the actors improvise in rehearsal; recorded it; and ended up adding some of their conversations to the script (which won the film’s only Oscar, by the way).