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1990 American film past Martin Scorsese

Goodfellas
Goodfellas.jpg

Theatrical release poster
Directed by Martin Scorsese
Screenplay by
  • Nicholas Pileggi
  • Martin Scorsese
Based on Wiseguy
by Nicholas Pileggi
Produced by Irwin Winkler
Starring
  • Robert De Niro
  • Ray Liotta
  • Joe Pesci
  • Lorraine Bracco
  • Paul Sorvino
Cinematography Michael Ballhaus
Edited by Thelma Schoonmaker
Distributed by Warner Bros.

Release dates
  • September 9, 1990 (1990-09-09) (Venice)
  • September nineteen, 1990 (1990-09-19) (United States)

Running time

 146 minutes[i]
State Us
Language English
Upkeep $25 meg[ii]
Box role $47.ane million[three]

Goodfellas (stylized GoodFellas ) is a 1990 American biographical crime film directed by Martin Scorsese, written by Nicholas Pileggi and Scorsese, and produced by Irwin Winkler. It is a film adaptation of the 1985 nonfiction book Wiseguy by Pileggi. Starring Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco and Paul Sorvino, the film narrates the rising and fall of mob associate Henry Hill and his friends and family unit from 1955 to 1980.

Scorsese initially titled the moving picture Wise Guy and postponed making information technology; he and Pileggi later inverse the title to Goodfellas. To prepare for their roles in the movie, De Niro, Pesci and Liotta frequently spoke with Pileggi, who shared research textile left over from writing the book. According to Pesci, improvisation and advertizement-libbing came out of rehearsals wherein Scorsese gave the actors liberty to practise whatever they wanted. The director made transcripts of these sessions, took the lines he liked most and put them into a revised script, which the cast worked from during primary photography.

Goodfellas premiered at the 47th Venice International Film Festival on September 9, 1990, where Scorsese was awarded with Silvery King of beasts for Best Director, and was released in the United States on September 19, 1990, by Warner Bros. The film was fabricated on a upkeep of $25 one thousand thousand, and grossed $47 million. Goodfellas received widespread critical acclaim upon release: the disquisitional consensus on Rotten Tomatoes calls it "arguably the high indicate of Martin Scorsese'southward career". The moving picture was nominated for six Academy Awards, including Best Picture and All-time Director, with Pesci winning for Best Supporting Actor. The pic won five awards from the British Academy of Pic and Television Arts, including Best Film and Best Manager. Additionally, Goodfellas was named the year's all-time motion-picture show by various critics' groups.

Goodfellas is widely regarded as i of the greatest films e'er made, peculiarly in the gangster genre. In 2000, it was deemed "culturally, historically, or aesthetically significant" and selected for preservation in the National Film Registry past the U.s. Library of Congress.[four] [5] Its content and style accept been emulated in numerous other films and idiot box series.[6]

Plot [edit]

In 1955, youngster Henry Hill becomes enamored by the criminal life and Mafia presence in his working class Italian-American neighborhood in Brooklyn. He begins working for local caporegime Paulie Cicero and his associates: Jimmy "the Gent" Conway, an Irish-American truck hijacker and gangster, and Tommy DeVito, a fellow juvenile delinquent. Henry begins equally a fence for Jimmy, gradually working his way up to more serious crimes. The three assembly spend nigh of their nights in the 1960s at the Copacabana nightclub carousing with women. Henry starts dating Karen Friedman, a Jewish woman who is initially troubled past Henry'due south criminal activities. Seduced by Henry'due south glamorous lifestyle, she marries him despite her parents' disapproval.

In 1970, Billy Batts, a made man in the Gambino crime family who was recently released from prison house, repeatedly insults Tommy at a nightclub owned past Henry; Tommy and Jimmy beat, stab and fatally shoot Billy. The unsanctioned murder of a made man invites retribution; realizing this, Jimmy, Henry, and Tommy bury the trunk in upstate New York. 6 months later, notwithstanding, Jimmy learns that the burying site is slated for evolution, prompting them to exhume and relocate the decomposing corpse.

In 1974, Karen harasses Henry's mistress, Janice, and threatens Henry at gunpoint. Henry moves in with Janice, but Paulie insists that he should return to Karen afterward collecting a debt from a gambler in Tampa with Jimmy. Upon returning, Jimmy and Henry are arrested subsequently beingness turned in by the gambler's sister, an FBI typist, and they receive 10-year prison house sentences. To support his family unit on the exterior, Henry has Karen smuggle in drugs and sells them to a boyfriend inmate from Pittsburgh.

Iv years later, Henry is paroled and expands his cocaine business organisation with Jimmy and Tommy against Paulie'south orders. Jimmy organizes a crew to raid the Lufthansa vault at John F. Kennedy International Airport, stealing six million dollars in cash and jewelry. After some members purchase expensive items against Jimmy's orders and the getaway truck is constitute past police, he has most of the coiffure except Tommy and Henry murdered. Tommy is deceived into believing he is to become a made man and is murdered after walking into the room of the "ceremony"—partly as retribution for murdering Batts.

By 1980, Henry develops a drug habit and becomes a paranoid wreck. He sets up another drug deal with his Pittsburgh assembly just is arrested by narcotics agents and incarerated. Later on bailing him out, Karen explains that she flushed $60,000 worth of cocaine downward the toilet to preclude FBI agents from finding it during their raid, leaving them penniless. Feeling betrayed by Henry'due south drug dealing, Paulie gives him $3,200 and ends their association. Henry meets Jimmy at a diner and is asked to travel on a hit assignment, simply the novelty of such a asking makes him suspicious. Henry realizes that Jimmy plans to have him and Karen killed, prompting his decision to go an informant and enroll, with his family unit, into the witness protection program. After giving sufficient testimony and evidence to have Paulie and Jimmy bedevilled, Henry moves to a nondescript neighborhood, unhappy to leave his exciting gangster life to live equally a deadening, average "schnook".

The end title cards country that (as of 1990, when the movie was released) Henry is notwithstanding a protected witness, merely that he was arrested in 1987 in Seattle for narcotics conspiracy. Henry received v years of probation, simply has since been make clean. He and Karen separated in 1989, and Paulie died the previous year in Fort Worth Federal Prison from respiratory illness. Jimmy is serving a 20 years-to-life sentence in a New York prison for murder and would be eligible for parole in 2004.

Cast [edit]

  • Robert De Niro as Jimmy Conway[7] (credited every bit "James Conway")
  • Ray Liotta as Henry Loma
  • Joe Pesci as Tommy DeVito
  • Lorraine Bracco equally Karen Hill
  • Paul Sorvino as Paulie Cicero[seven] (credited as "Paul Cicero")
  • Frank Sivero as Frankie Carbone
  • Tony Darrow every bit Sonny Bunz
  • Mike Starr as Frenchy
  • Frank Vincent as Billy Batts
  • Chuck Depression as Morris Kessler
  • Frank DiLeo as Tuddy Cicero
  • Henny Youngman as Himself
  • Gina Mastrogiacomo as Janice Rossi
  • Catherine Scorsese as Tommy's female parent
  • Charles Scorsese as Vinnie
  • Suzanne Shepard as Karen's mother
  • Debi Mazar every bit Sandy
  • Margo Winkler as Belle Kessler
  • Welker White as Lois Byrd
  • Jerry Vale as Himself
  • Julie Garfield as Mickey Conway
  • Christopher Serrone as Young Henry
  • Elaine Kagan as Henry'due south mother
  • Boyfriend Starr as Henry'south father
  • Kevin Corrigan as Michael Hill
  • Michael Imperioli as Spider
  • Robbie Vinton as Bobby Vinton
  • John Williams as Johnny Roastbeef
  • Illeana Douglas as Rosie
  • Frank Pellegrino equally Johnny Dio
  • Tony Sirico equally Tony Stacks
  • Samuel L. Jackson as Stacks Edwards
  • Paul Herman as Dealer
  • Edward McDonald as Himself
  • Louis Eppolito equally Fatty Andy
  • Tony Lip as Frankie the Wop
  • Anthony Powers as Jimmy Two Times
  • Vinny Pastore every bit Man w/Coatrack
  • Tobin Bong every bit Parole Officer
  • Isiah Whitlock Jr. as Md
  • Richard "Bo" Dietl as Arresting Narc
  • Ed Deacy as Detective Deacy
  • Victor Colicchio as Henry's sixty's crew
  • Vincent Gallo as Henry's 70'south crew
  • Joseph Bono as Mikey Franzese
  • Katherine Wallach as Diane
  • Bob Golub as Truck Driver at Diner

Product [edit]

Development [edit]

Martin Scorsese in 2006, the director of the pic

Goodfellas is based on New York crime reporter Nicholas Pileggi's book, Wiseguy.[8] Martin Scorsese did non intend to make another mob film, only he saw a review of Pileggi's book, which he then read while working on the set of The Color of Money in 1986.[9] [10] He had always been fascinated past the mob lifestyle and was drawn to Pileggi'south book because he thought it was the most honest portrayal of gangsters he had ever read.[eleven] After reading the volume, Scorsese knew what approach he wanted to take, "To brainstorm Goodfellas like a gunshot and take information technology get faster from in that location, almost similar a 2-and-a-half-hr trailer. I call back it's the only style you can really sense the exhilaration of the lifestyle, and to get a sense of why a lot of people are attracted to it."[12] According to Pileggi, Scorsese cold-called the writer and told him, "I've been waiting for this book my entire life," to which Pileggi replied, "I've been waiting for this telephone call my entire life."[13] [fourteen]

Scorsese decided to postpone making the flick when funds materialized in 1988 to brand The Last Temptation of Christ. He was drawn to the documentary aspects of Pileggi'due south volume. "The book [Wiseguy] gives you a sense of the day-to-day life, the tedium, how they work, how they accept over certain nightclubs, and for what reasons. It shows how it's done."[13] He saw Goodfellas as the third motion picture in an unplanned trilogy of films that examined the lives of Italian Americans "from slightly different angles."[fifteen] He has often described the film as "a mob dwelling movie" that is about money, because "that's what they're really in business organization for."[eleven] Two weeks in accelerate of the filming, the real Henry Colina was paid $480,000.[16]

Screenplay [edit]

Scorsese and Pileggi collaborated on the screenplay, and over the course of the 12 drafts it took to reach the ideal script, the reporter realized "the visual styling had to be completely redone... Then we decided to share credit."[thirteen] [xvi] They chose the sections of the book they liked and put them together similar building blocks.[ii] Scorsese persuaded Pileggi that they did not need to follow a traditional narrative structure. The director wanted to take the gangster film and deal with it episode past episode, but start in the middle and movement backwards and forwards. Scorsese compacted scenes, realizing that, if they were kept brusque, "the touch on afterward about an hour and a half would exist terrific."[two] He wanted to do the voiceover similar the opening of Jules and Jim (1962) and use "all the basic tricks of the New Moving ridge from around 1961."[2] The names of several real-life gangsters were contradistinct for the film: Tommy "Two Gun" DeSimone became the character Tommy DeVito; Paul Vario became Paulie Cicero, and Jimmy "The Gent" Burke was portrayed as Jimmy Conway.[16] Scorsese initially titled the film Wise Guy, but later, he and Pileggi decided to change the title of their film to Goodfellas because two gimmicky projects, the 1986 Brian De Palma film Wise Guys and the 1987–1990 Boob tube series Wiseguy had used similar titles.[2]

Casting [edit]

Once Robert De Niro agreed to play Conway, Scorsese was able to secure the money needed to make the moving-picture show.[10] The director cast Ray Liotta subsequently De Niro saw him in Jonathan Demme's Something Wild (1986), and Scorsese was surprised by "his explosive energy" in that flick.[xv] Liotta had read Pileggi's book when it came out and was fascinated by it. A couple of years afterwards, his agent told him Scorsese was going to directly a film version. In 1988, he met the director over a period of a couple of months and auditioned for the film.[11] He campaigned aggressively for a role, merely the studio wanted a well-known actor. He later said "I think they would've rather had Eddie Murphy than me."[17] Al Pacino[18] and John Malkovich were considered for the role of Jimmy Conway, and Sean Penn, Alec Baldwin, Val Kilmer, and Tom Cruise were considered for the role of Henry Hill.[xix] [twenty] [21]

To ready for the function, De Niro consulted with Pileggi, who had research textile that had been discarded while writing the volume.[22] De Niro oft called Colina several times a day to ask how Burke walked, held his cigarette, and so on.[23] [24] Driving to and from the set, Liotta listened to FBI audio cassette tapes of Hill, so he could practice speaking like his real-life counterpart.[24] Madonna was considered for the part of Karen Hill.[19] To research her role, Lorraine Bracco tried to get shut to a mob wife but was unable to, because they exist in a very tight-knit community. She decided not to run into the real Karen, saying she "thought information technology would be meliorate if the creation came from me. I used her life with her parents equally an emotional guideline for the role."[25] Paul Sorvino had no problem finding the voice and walk of his character, simply plant it challenging finding what he called "that kernel of coldness and accented hardness that is antithetical to my nature except when my family is threatened."[26]

One-time EDNY prosecutor Edward McDonald appeared in the film as himself, recreating the conversation he had with Henry and Karen Colina well-nigh joining the Witness Protection Programme. McDonald, who was friends with Pileggi, was bandage on a whim; while a location scout was taking pictures of his role, McDonald casually remarked that he would be happy to play himself if needed. Pileggi called him an hour after asking if he was serious, and he was bandage. The scene was unscripted, with McDonald improvising the line referring to Karen equally a "infant-in-the-forest."[27]

Photography [edit]

The picture was shot on location in Queens, New York state, New Bailiwick of jersey, and parts of Long Island during the spring and summertime of 1989, with a budget of $25 1000000.[sixteen] Scorsese broke the picture down into sequences and storyboarded everything because of the complicated style throughout. The filmmaker stated, "[I] wanted lots of movement and I wanted information technology to exist throughout the whole picture, and I wanted the style to kind of intermission down by the end, so that by [Henry's] last twenty-four hours equally a wiseguy, it'due south equally if the whole picture would be out of control, give the impression he's just going to spin off the edge and fly out."[9] He added that the film's style comes from the first two or 3 minutes of Jules and Jim (1962): extensive narration, quick edits, freeze frames, and multiple locale switches.[12] It was this reckless mental attitude towards convention that mirrored the attitude of many of the gangsters in the flick. Scorsese remarked, "So if you do the flick, you say, 'I don't care if there'due south likewise much narration. Besides many quick cuts?—That's besides bad.' It'due south that kind of really punk mental attitude nosotros're trying to show."[12] He adopted a frenetic style to most overwhelm the audience with images and data.[2] He also put plenty of item in every frame because he believed the gangster life is so rich. Freeze frames were used every bit Scorsese wanted images that stopped "because a indicate was being reached" in Henry'southward life.[2]

Joe Pesci did not judge his graphic symbol but establish the scene where he kills Spider for talking back to his character hard to do, because he had trouble justifying the action until he forced himself to feel the manner Tommy did.[xi] Bracco found the shoot to be an emotionally difficult one because it was such a male-dominated cast, and she realized if she did not make her "work of import, it would probably stop up on the cutting room floor."[eleven] When it came to the human relationship between Henry and Karen, Bracco saw no difference between an abused wife and her character.[eleven]

According to Pesci, improvisation and advertisement-libbing came out of rehearsals wherein Scorsese allow the actors do whatsoever they wanted. He made transcripts of these sessions, took the lines the actors came up with that he liked best, and put them into a revised script that the cast worked from during principal photography.[22] For example, the scene where Tommy tells a story and Henry is responding to him—the "Funny how? Do I amuse you?" scene—is based on an actual event that Pesci experienced. Pesci was working every bit a waiter when he thought he was making a compliment to a mobster by saying he was "funny"; however, the annotate was not taken well.[28] [29] It was worked on in rehearsals where he and Liotta improvised, and Scorsese recorded iv to 5 takes, rewrote their dialogue, and inserted information technology into the script.[xxx] The dinner scene with Tommy's female parent was largely improvised. Her painting of the bearded homo with the dogs was based on a photo from National Geographic magazine.[31] The cast did not see Henry Loma until a few weeks earlier the film's premiere. Liotta met him in an undisclosed city; Hill had seen the moving picture and told the player that he loved it.[11]

The long tracking shot through the Copacabana nightclub came near because of a practical problem: the filmmakers could not become permission to go in the brusk style, and this forced them to go round the dorsum.[2] Scorsese decided to moving-picture show the sequence in one unbroken shot in lodge to symbolize that Henry's entire life was ahead of him, commenting, "Information technology's his seduction of her [Karen] and it's also the lifestyle seducing him."[two] This sequence was shot eight times.[30]

Henry'south concluding mean solar day as a wiseguy was the hardest part of the moving-picture show for Scorsese to shoot, because he wanted to properly show Henry's country of anxiety, paranoia, and racing thoughts caused past cocaine and amphetamines intoxication.[two] In an interview with movie critic Mark Cousins, Scorsese explained the reason for Pesci shooting at the photographic camera at the terminate of the film, "well that's a reference correct to the terminate of The Great Train Robbery, that's the way that ends, that picture show, and basically the plot of this picture is very similar to The Great Train Robbery. It hasn't changed, 90 years later on, it's the same story, the gun shots will ever be there, he's always going to look backside his back, he's gotta have optics backside his dorsum, because they're gonna get him someday." The director ended the picture with Henry regretting that he is no longer a wiseguy, well-nigh which Scorsese said, "I think the audience should get angry at him and I would hope they practise—and mayhap with the organization which allows this."[2]

Postal service-production [edit]

Scorsese wanted to depict the motion-picture show's violence realistically, "cold, unfeeling and horrible. Almost incidental."[10] Notwithstanding, he had to remove 10 frames of claret to ensure an R rating from the MPAA.[15] With a budget of $25 one thousand thousand, Goodfellas was Scorsese's almost expensive picture to that point merely still simply a medium-sized upkeep by Hollywood standards. It was besides the beginning fourth dimension he was obliged by Warner Bros. to preview the film. It was shown twice in California, and a lot of audiences were "agitated" by Henry's final mean solar day as a wise guy sequence. Scorsese argued that that was the point of the scene.[ii] Scorsese and the film's editor, Thelma Schoonmaker, fabricated this sequence faster with more jump cuts to convey Henry'southward drug-addled point of view. In the commencement examination screening there were 40 walkouts in the first ten minutes.[30] One of the favorite scenes for test audiences was the "Do I amuse you?" scene.[2]

Soundtrack [edit]

While at that place is no incidental score as such in the flick, Scorsese chose songs for the soundtrack that he felt obliquely commented on the scene or the characters.[15] In a given scene, he used merely music contemporary to or older than the scene's setting. According to Scorsese, a lot of non-dialogue scenes were shot to playback. For example, he had "Layla" past Derek and the Dominos playing on the gear up while shooting the scene where the expressionless bodies are discovered in the auto, dumpster, and meat truck. Sometimes, the lyrics of songs were put between lines of dialogue to annotate on the action.[2] Some of the music Scorsese had written into the script, while other songs he discovered during the editing phase.[30]

Release [edit]

Theatrical [edit]

Goodfellas premiered at the 47th Venice International Movie Festival, where Scorsese received the Silver Lion award for all-time director.[32] Information technology was given a broad release in N America on September 21, 1990.

Domicile media [edit]

Goodfellas was released on DVD in March 1997, in a single-disc, double-sided, single-layer format that requires the disc to exist flipped during viewing; in 2004, Warner Abode Video released a two-disc, dual-layer version, with remastered picture and sound, and bonus materials such as commentary tracks.[33] In early 2007, the film became available on single Blu-ray with all the features from the 2004 release; an expanded Blu-ray version was released on February 16, 2010, for its 20th ceremony,[34] bundled with a disc with features that include the 2008 documentary Public Enemies: The Aureate Historic period of the Gangster Motion picture. [33] On May 5, 2015, a 25th anniversary edition was released.[35] The motion picture was released on 4K Ultra Hard disk drive Blu-ray on Dec half dozen, 2016.[36]

Reception [edit]

Box function [edit]

Goodfellas grossed $vi.iii million from 1,070 theaters in opening weekend, topping the box office.[37] In its second weekend the film fabricated $5.nine one thousand thousand from 1,291 theaters, falling just viii% and finishing 2d behind newcomer Pacific Heights.[38] It went on to make $46.8 million domestically.[39] [three]

Critical response [edit]

Co-ordinate to review aggregator Rotten Tomatoes, 96% of 103 critics have given the film a positive review, with an boilerplate rating of 9.00/x. The website's critics consensus reads, "Hard-hitting and stylish, GoodFellas is a gangster classic—and arguably the high point of Martin Scorsese'south career."[xl] Metacritic has assigned the moving-picture show a weighted boilerplate score of 90 out of 100 based on reviews from 21 critics, indicating "universal acclaim".[41] Audiences polled past CinemaScore gave the motion picture an average grade of "A−" on an A+ to F scale.[42]

In his review for the Chicago Lord's day-Times, Roger Ebert gave the moving picture a full four stars and wrote, "No finer film has ever been made almost organized crime – not even The Godfather."[43] In his review for the Chicago Tribune, Gene Siskel wrote, "All of the performances are first-rate; Pesci stands out, though, with his seemingly unscripted manner. GoodFellas is easily 1 of the year's best films."[44] Both named information technology as the best pic of 1990. In his review for The New York Times, Vincent Canby wrote, "More than than whatsoever earlier Scorsese film, Goodfellas is memorable for the ensemble nature of the performances... The movie has been beautifully bandage from the leading roles to the $.25. There is flash also in some of Mr. Scorsese'south directorial choices, including freeze frames, fast cut and the occasional long tracking shot. None of it is superfluous."[45] United states Today gave the film 4 out of four stars and chosen it, "great picture palace—and as well a whopping expert fourth dimension."[12] David Ansen, in his review for Newsweek magazine, wrote "Every well-baked minute of this long, teeming movie vibrates with outlaw energy."[46] Rex Reed said, "Big, rich, powerful and explosive. 1 of Scorsese'south all-time films! Goodfellas is smashing entertainment."[47] In his review for Time, Richard Corliss wrote, "Then it is Scorsese'south triumph that GoodFellas offers the fastest, sharpest 2½-hr. ride in recent motion-picture show history."[48]

Lists [edit]

The film was ranked the all-time of 1990 by Roger Ebert,[49] Gene Siskel,[49] and Peter Travers.[50] In a poll of lxxx film critics, "Goodfellas" was named the best pic of the year by 34 critics. Director Martin Scorsese was chosen as the twelvemonth's all-time director in 45 of the eighty ballots.[51]

Goodfellas is ranked No. 92 on the AFI'southward 100 Years...100 Movies (10th Anniversary Edition) listing, published in 2007. In 2012, the Movement Motion-picture show Editors Order listed Goodfellas as the fifteenth best-edited film of all time based on a survey of its membership.[52] In the 2012 Sight & Sound polls, it was ranked the 48th-greatest film ever made in the directors' poll.[53] Goodfellas is 39th on James Berardinelli'south 2014-made list of the pinnacle 100 films of all fourth dimension.[54] In 2015, Goodfellas ranked 20th on BBC's "100 Greatest American Films" list, voted on by picture critics from around the world.[55]

Accolades [edit]

Information technology became one of the seven films to win Best Flick from three out of four major U.Due south. film critics' groups (LA, NBR, NY, NSFC) along with Nashville, All the President's Men, Terms of Endearment, Pulp Fiction, The Injure Locker, and Drive My Machine.

Award Category Nominee Consequence
Academy Award All-time Picture show[56] Irwin Winkler Nominated
All-time Director[56] Martin Scorsese Nominated
Best Supporting Actor[56] Joe Pesci Won
All-time Supporting Actress[56] Lorraine Bracco Nominated
All-time Adjusted Screenplay[56] Martin Scorsese and Nicholas Pileggi Nominated
All-time Film Editing[56] Thelma Schoonmaker Nominated
Gilded Globe Accolade All-time Movement Moving-picture show – Drama[57] Martin Scorsese and Irwin Winkler Nominated
Best Director[57] Martin Scorsese Nominated
Best Supporting Actor[57] Joe Pesci Nominated
Best Supporting Actress[57] Lorraine Bracco Nominated
Best Screenplay[57] Martin Scorsese and Nicholas Pileggi Nominated
British Academy Film Laurels Best Film Martin Scorsese and Irwin Winkler Won
Best Director Martin Scorsese Won
Best Adapted Screenplay Martin Scorsese and Nicholas Pileggi Won
Best Actor Robert De Niro Nominated
Best Editing Thelma Schoonmaker Won
Best Cinematography Michael Ballhaus Nominated
All-time Costume Pattern Richard Bruno Won
Directors Guild of America Award Outstanding Directing – Characteristic Martin Scorsese Nominated
Writers Club of America Award Best Adapted Screenplay Martin Scorsese and Nicholas Pileggi Nominated
César Award All-time Non-French Film Martin Scorsese and Irwin Winkler Nominated
Venice Film Festival Silver Lion for Best Director[58] Martin Scorsese Won
Audience Honour Martin Scorsese Won
Filmcritica "Bastone Bianco" Award Martin Scorsese Won
New York Film Critics Circle Honour Best Movie Martin Scorsese and Irwin Winkler Won
Best Director Martin Scorsese Won
Best Role player Robert De Niro Won
Los Angeles Picture Critics Association Laurels Best Film Martin Scorsese and Irwin Winkler Won
Best Manager Martin Scorsese Won
All-time Supporting Thespian Joe Pesci Won
All-time Supporting Actress Lorraine Bracco Won
Best Cinematography Michael Ballhaus Won
National Lath of Review Award All-time Supporting Actor Joe Pesci Won
Boston Gild of Film Critics Award All-time Film Martin Scorsese and Irwin Winkler Won
Best Director Martin Scorsese Won
Best Supporting Actor Joe Pesci Won
Chicago Picture show Critics Association Award Best Film Martin Scorsese and Irwin Winkler Won
Best Director Martin Scorsese Won
Best Supporting Thespian Joe Pesci Won
Best Supporting Extra Lorraine Bracco Won
Best Screenplay Martin Scorsese and Nicholas Pileggi Won
National Society of Picture show Critics Accolade Best Film Martin Scorsese and Irwin Winkler Won
Best Director Martin Scorsese Won
Bodil Honor Best American Film Martin Scorsese and Irwin Winkler Won

Legacy [edit]

Goodfellas is No. 94 on the American Film Institute's "100 Years, 100 Movies" list and moved upward to No. 92 on its AFI's 100 Years...100 Movies (10th Anniversary Edition) from 2007. In June 2008, the AFI put Goodfellas at No. two on their AFI's x Top 10—the best ten films in ten "classic" American moving-picture show genres—after polling over 1,500 people from the movie-related community.[59] Goodfellas was regarded every bit the 2nd-best in the gangster film genre (after The Godfather).[60] In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.

Roger Ebert named Goodfellas the "best mob picture ever" and placed it among the ten best films of the 1990s.[61] In December 2002, a Great britain film critics poll in Sight & Sound ranked the movie No. iv on their list of the 10 Best Films of the Last 25 Years.[62] Time included Goodfellas in their list of Time's All-Time 100 Movies.[63] Channel 4 placed Goodfellas at No. x in their 2002 poll The 100 Greatest Films, Empire listed Goodfellas at No. 6 on their "500 Greatest Movies Of All Time,"[64] and Total Motion-picture show voted Goodfellas No. 1 as the greatest motion picture of all time.[65]

Premiere listed Joe Pesci's Tommy DeVito every bit No. 96 on its listing of "The 100 Greatest Film Characters of All Fourth dimension," calling him "perhaps the single most irredeemable character ever put on motion-picture show."[66] Empire ranked Tommy DeVito No. 59 in their "The 100 Greatest Movie Characters" poll.[67]

Goodfellas inspired managing director David Chase to make the HBO television set serial The Sopranos." He told Peter Bogdanovich, "Goodfellas is a very important movie to me and Goodfellas actually plowed that ... I plant that moving-picture show very funny and roughshod and information technology felt very real. And notwithstanding that was the first mob movie that Scorsese always dealt with a mob crew. ... as opposed to say The Godfather ... which there's something operatic most it, classical, fifty-fifty the vesture and the cars. Y'all know I hateful I e'er remember nigh Goodfellas when they go to their female parent's business firm that night when they're eating, you know when she brings out her painting, that stuff is great. I mean The Sopranos learned a lot from that."[68] Indeed, the flick shares a total of 27 actors with The Sopranos,[69] including Bracco, Sirico, Imperioli, Pellegrino, Lip, and Vincent, who all had major roles in Hunt'south HBO series.

July 24, 2010 marked the 20th anniversary of the picture's release. This milestone was historic with Henry Loma hosting a private screening for a select group of invitees at the Museum of the American Gangster, in New York City.[70]

In January 2012, it was announced that the AMC Network had put a boob tube series version of the movie in evolution. Pileggi was on board to co-write the adaptation with television writer-producer Jorge Zamacona. The ii were ready to executive produce with the film's producer Irwin Winkler and his son, David.[71]

Luc Besson's 2013 crime comedy flick The Family features a sequence where Giovanni Manzoni (Goodfellas star De Niro), a gangster who is under witness protection for testifying against a fellow member of his family, watches Goodfellas. [72]

In 2014, the ESPN-produced 30 for 30 serial debuted Playing for the Mob,[73] the story most how Colina and his Pittsburgh associates, and several Boston College basketball players, committed the point shaving scandal during the 1978–79 season, an episode briefly mentioned in the film. The documentary, narrated by Liotta, was set upwards then that the viewer needed to lookout man the film beforehand in order to empathise many of the references in the story.

In 2015, Goodfellas closed the Tribeca Picture show Festival with a screening of its 25th-anniversary remaster.[74]

American Film Institute Lists

  • AFI's 100 Years... 100 Movies - #94
  • AFI's 100 Years... 100 Movies (10th Anniversary Edition) - #92
  • AFI'southward ten Top 10 - #2 Gangster film
  • AFI'south 100 Years... 100 Heroes and Villains - Tommy DeVito - Nominated Villain
  • AFI's 100 Years... 100 Motion-picture show Quotes - "Funny how?" - Nominated Quote

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Bibliography [edit]

  • Kelly, Mary Pat (2003). Martin Scorsese: A Journey. Thunder's Rima oris Press. ISBN978-ane-56025-470-6.
  • Pileggi, Nicholas; Scorsese, Martin (1990). Goodfellas. Faber and Faber. ISBN978-0-571-16265-ix.
  • Pileggi, Nicholas (1990). Wiseguy. Rei Mti. ISBN978-0-671-72322-4.
  • Thompson, David; Christie, Ian (2004). Scorsese on Scorsese. Faber and Faber. ISBN978-0-571-22002-1.

External links [edit]

  • "Getting Made The Scorsese Fashion". GQ. October 2010.
  • Goodfellas at IMDb
  • Goodfellas at AllMovie
  • Goodfellas at the TCM Movie Database
  • Goodfellas at Box Part Mojo
  • Goodfellas at Rotten Tomatoes
  • Goodfellas at Metacritic Edit this at Wikidata
  • "Reel Faces: Fact vs. Fiction". Chasingthefrog.com.
  • Goodfellas essay by Daniel Eagan in America's Flick Legacy: The Authoritative Guide to the Landmark Movies in the National Motion-picture show Registry, A&C Blackness, 2010 ISBN 0826429777, pages 802-803

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Source: https://en.wikipedia.org/wiki/Goodfellas

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