Nonton film Goodfellas (1990) full movie subtitle Indonesia
Goodfellas (1990) full movie subtitle Indonesia
Some guys grow up wanting to design computer games, fly space missions or play for the New York Knicks. Henry Hill always wanted to be a gangster. Like Martin Scorsese, who, from any early age, wanted to make movies, Henry Hill realized his grand ambition.
The two dreams come together with exuberant results in ''Goodfellas,'' Mr. Scorsese's breathless and brilliant new film, adapted by him and Nicholas Pileggi from Mr. Pileggi's best-selling book, ''Wise Guy.''
As ''Wise Guy'' is possibly the best, least romanticized and chilliest book in any library devoted to real-life Mafia manners, ''Goodfellas'' is both the most politically serious and most evilly entertaining movie yet made about organized crime. As cinema, it ranks alongside Mr. Scorsese's classics, ''Taxi Driver'' and ''Raging Bull.''
Henry Hill, raised in the Brownsville-East New York section of Brooklyn, began his career early. In 1955, when he was 11, Hill was running errands for the Euclid Avenue Taxicab and Limousine Service, which was something more than just a cab stand. It was the unofficial clubhouse for members of the local underworld and their hangers-on: bookmakers, politicians, off-duty cops, policy runners, union officers and aging hit men, among others. It was also one of the many business fronts of Paul Vario, a mobster on the rise within the Luchese crime family. Vario took a liking to young Hill. Unlike Vario's own sons, Hill was an eager and efficient go-fer. If he was sent out for coffee, he brought it back hot.
When Hill's school notified his parents that their boy was not attending classes, Vario's associates roughed up the postman. There were no longer any letters from the school arriving at the Hill house. The trouble was that there was no mail at all, which prompted Hill's mother to complain to the Post Office.
Over the next 20 years, Vario treated Hill like a son. The young man became one of Vario's most trusted ''mechanics.'' He was a driver, companion, messenger, confidant, strong-arm man, student of rackets and natural-born wheeler-dealer. He had just one flaw.
Though his mother was Sicilian, his father was Irish. Hill could never be a ''made man'' within the Sicilian organization. He was privy to just about every one of the mob's scams, thefts and assasinations, but he was forever denied the status that pure blood would have allowed him.
This was Hill's seriocomic-tragic flaw and, later, his value to the Federal Bureau of Investigation. People who look with longing through a window see more than those who are inside. Mr. Pileggi says it was Hill's point of view that interested him when, in 1981, he was approached by Hill's lawyers to write the story of the gangster, who had entered the F.B.I.'s witness-protection program. Hill was then about to testify against everyone in his adult life who had been nearest and dearest to him.
Hill ''knew a great deal about the world in which he had been raised,'' Mr. Pileggi writes, ''but he spoke about it with an odd detachment, and he had an outsider's eye for detail.''
It is this detachment and these details, seemingly so commonplace as they are recalled by the film's Henry Hill (Ray Liotta) and his wife, Karen (Lorraine Bracco), that help to make ''Goodfellas'' such a singular and, in an upside-down way, such a riotous movie.
Francis Coppola's two ''Godfather'' movies are full of noble despair and sentiment. This, they say, is the American Dream gone onto rocks the size of Gibraltar. The emotions are operatic. Jonathan Demme's ''Married to the Mob'' turns Mafiosos into characters out of a Preston Sturges comedy.
Both director's visions are legitimate. Mr. Scorsese's is something else.
''Goodfellas'' looks at the mob without making any apparent comment of its own. As it adopts the flat tone of Henry, its principal narrator, it also reflects Henry's jittery and driven concerns. It moves from sequence to sequence with slightly crazed speed, as if anticipating one of the cocaine highs that, finally, were to be Henry's undoing. Mr. Scorsese and Mr. Pileggi can't quite get the entire book onto the screen, but they succeed in preserving a remarkable number of the details.
There are young Henry's initial encounters at the cab stand with Vario, called Paulie (Paul Sorvino), his later hectic courtship of Karen, a nice Jewish girl who admits to being turned on by Henry's guns (and who is, toward the end, turned on by his cocaine), and, most important, his friendships with his mob partners, Jimmy Conroy (Robert De Niro), and Tommy DeVito (Joe Pesci).
The jealous Karen is always furious about Henry's girlfriends. ''Friday night at the Copa was for the girlfriends,'' Henry says on the soundtrack at one point. ''Saturday night was for the wives.'' Yet girlfriends are not Karen's competition. She is, instead, up against Henry's addiction to the excitement, power and perks of his job and his life, in which his associates come first.
Paulie functions as his true father. Jimmy and Tommy are his true brothers. Some brothers. Tommy is clearly psychotic. For laughs he shoots a barroom go-fer in the foot and, later, when the go-fer talks back, he shoots him through the heart. Jimmy seems steadier. At 16, he was a hit man for Paulie but, as Henry recalls later, ''What Jimmy really loved to do was steal.'' Jimmy's truck hijackings are just rehearsals for what would become the mob's greatest heist, the Lufthansa robbery at Kennedy Airport in 1978. The size of the Lufthansa haul turned everyone a bit giddy, leading to a series of murders that eventually doomed them all. Greed eats away at life-long friendships. The only thing that survives is the instinct for self-preservation.
''Goodfellas'' looks and sounds as if it must be absolutely authentic. It's not just the New York settings in which the film was photographed, or the barrooms and diners and nightclubs in which the guys hang out. It isn't even the throwaway bits of sociology the audience hears. Recalling her introduction into mob society, Karen says, ''Almost all the sons were named Peter or Paul and all the wives named Marie.''
The authenticity exists in the unimaginative ordinariness of the violent lives it depicts. These guys ''wack'' an associate with ease and then stop by Tommy's mother's house to pick up a shovel. The old lady insists on feeding them.
She scolds Tommy for not finding a nice girl. Tommy says, ''I find a nice girl every night.'' Laughter. Boys will be boys.
It's not all fun. One night they have to drive upstate to dig up a body they thought was safely disposed of. It seems that the burial ground has been sold for condominiums. The body, only partially decomposed, smells worse than they could have imagined. Details. Details. Paulie and his pals buy a Queens restaurant, steal it blind and burn it down to collect the insurance.
It is the mobsters' ferocious pettiness and the smallness of their aspirations that are so terrifying in ''Goodfellas.'' This may be the most cautionary aspect of the film. After all, America made them.
More than any earlier Scorsese film, ''Goodfellas'' is memorable for the ensemble nature of the performances. Mr. De Niro, Mr. Liotto, Mr. Pesci and Mr. Sorvino shine together, though Mr. Pesci's material is the flashiest. Miss Bracco is equally good, but so is the role. The movie has been beautifully cast from the leading roles to the bits. There is flash also in some of Mr. Scorsese's directorial choices, including freeze frames, fast-cutting and the occasional long tracking shot. None of it is superfluous. The film's rhythms are built into the shape of the narrative, whose penultimate sequence is a Keystone Kops comedy for adults.
''Goodfellas'' doesn't end. It crashes, with Henry, into the sobriety of the straight world. It disturbs, and even makes one think.
Goodfellas
Directed by Martin Scorsese; screenplay by Nicholas Pileggi and Mr. Scorsese, based on the book ''Wise Guy,'' by Mr. Pileggi; director of photography, Michael Ballhaus; film editor, Thelma Schoonmaker; production designer, Kristi Zea; produced by Irwin Winkler; released by Warner Brothers. Running time: 146 minutes. This film is rated R.
James Conway....Robert De Niro
Henry Hill....Ray Liotta
Tommy DeVito....Joe Pesci
Karen Hill....Lorraine Bracco
Paul Cicero....Paul Sorvino
Frankie Carbone....Frank Sivero
Sonny Bunz....Tony Darrow
Frenchy....Mike Starr