I have never been the biggest fan of the “epic crime drama” as a genre. There were many films of this type released around the 70's and 80's considered to be the greatest in history; including 'The Godfather' series (1972-1990), 'Mean Streets' (1973), 'Scarface' (1983), 'The Untouchables' (1987), 'Goodfellas' (1990) and 'Miller's Crossing' (1990). These films, often based on novels, memoirs or older films, typically chronicle the rise and/or fall of a criminal or gang of criminals, usually between the 1920's and 40's in an American city. These criminals are classically immigrants or at least members of a close knit, poor community who gain wealth and infamy through organized violent crime. Films of this genre also tend to be very long, often around three hours or more and attract big names behind and on the screen.
'Once Upon a Time in America' is the final film by Spaghetti-western legend Sergio Leone, starring Robert DeNiro as a member of a gang of teenage Jewish hoods who rise to power in 1920's New York City. Based on Harry Grey's novel/memoir 'The Hoods', the running time of the European cut is three hours and forty minutes. As you may be able to tell, it displays all the hallmarks of the “epic crime drama”, and is, perhaps, the most generic “epic crime drama” of modern times. However, if you can forgive the familiar iconography and conventions on display, 'Once Upon a Time in America' stands as one of the very best films the genre has ever seen.
It's original features lie not in the setting or the form, but the closely observed relationships and strong characterisation. Unlike the solitary protagonists of other films in the genre, 'Once Upon a Time in America's “Noodles” is established and developed through a series of episodes and encounters with his friends through the years. Very little of his family background is mentioned, rather the audience understands that his fellow gang members are his real family. The film is well cast, with both child and adult actors carrying characters seamlessly back-and-forth between flashbacks and flash-forwards. Despite the lengthy running time the film rarely drags due to Leone establishing a rewarding interest in the main characters; who they were and who they've become. From this perspective, his film achieves in one stroke an effect it took Coppola a trilogy to match with 'The Godfather' (Incidentally, a series offered first to Leone, who declined in favour of making this film).
Much of the visual impact of the 'Dollars' trilogy is found here as well, especially in regards to the bloody violence. While the shots themselves, nor the editing can consistently match Leone's best work, there are moments of brilliance, including some of the best cuts between scenes ever done. Ennio Morricone's score is a step down from his previous collaborations with Leone, aiming for a sweeping beauty but falling into a set of generic conventions while failing to distinguish itself from other contemporary scores such as Nino Rota's work on 'The Godfather'. His main theme is enjoyable, but feels to similar to his previous work. It is an accomplished collection of music, but not to the high standard Morricone established in the 1960's.
'Once Upon a Time in America' demonstrates the real potential Leone had working outside of the western, but sadly this film was so butchered by Warner Bros. on it's initial release that Leone never worked again before his death in 1989. It is the ultimate “epic crime drama”, a story that earns that label in every way and a worthy ending to a tragically sparse career.
*****
(UK Release: Unknown, 1984)
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