| A Human Gangster in Gameland: Martin Scorsese's Casino
by Nathan Wolfson | It is to Scorsese's credit that Casino is not simply
a deft rehashing of previous gangster film clichés -- many of
which he established. Certainly this bloody epic is not for all
tastes. Most of the characters -- possibly all save Robert DeNiro's
"Ace" -- are unlikable. And there are enough scenes
of brutal torturings and executions to turn all but the most hardened
stomachs (and souls). But, in addition to the adrenaline-rush-inducing
action one would expect from such a movie, there are also some
interesting, human dramas happening here.
Most of the characters in the film are unmoving caricatures of what must have been nuanced human beings in the "true events" upon which Scorsese and co-screenwriter Nicholas Pileggi based their story. The exceptions are DeNiro's "Ace" (in a major way) and Sharon Stone's "Ginger" (less significantly). Though not played to perfection, Ginger represents a bit more than the "alluring" femme-fatale that invariably undermines "her man" in standard dark gangster saga. The exploration of her gradual descent into serious chemical dependency/psychosis is not quite rotely portrayed. But more than that, her relationship to her ex- boyfriend/childhood friend/pimp -- especially after her marriage to Ace -- largely plays true. The reasons for her dangerous dedication to this "loser" are as intractable in the film as they often are in similar situations in 'real life". The situation develops like the paths many of us follow when we know we are "making a mistake" but are inevitably drawn to complete a journey we have already begun. But the really notable presence in the film is Ace. Called to Vegas by "the mob" to run a burgeoning casino, Ace is a crook. But he's a smart crook. He's not particularly evil nor obnoxiously/psychotically petty (as Pesci's Nick reminds us that movie-crooks almost always are). And he's frightfully human at points. It is in these moments of humanity that Casino most adeptly sheds the genre's garb and reminds many of us that, had our own life circumstances been like his, we could have been Ace. There are numerous instances in the film where Ace's humanity surfaces. The first such episode -- his marriage proposal to Ginger -- is the most revealing. When confronted with Ginger's admission that she doesn't love him, we almost see a gangster cry. His eventual reaction demonstrates that he is not only emotional but thoughtful. He suggests that since they respect each other (which, he says, is of prime importance), love would probably develop with time. In another context, such a statement might sound empty. But Ace's sincerity appears complete. He loves Ginger so much that he believes what he says. This creates a state of vulnerability for himself that remains a recurring opportunity for the expression of his humanness -- and for his potential downfall -- throughout the film.
Most will see Casino for its epic depiction of gangsters
in gameland. This comprises more than nine- tenths of the film's
excessive three-hour running time. And though it would be a mistake
to go to Casino to find a serious exploration of human
emotions, there are hints of real psychic activities lying behind
much of the action-pic maneuverings on the screen. |
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