The dizzying climax to Scorsese's Mafia trilogy

Rating: 9/10 (25 February 2002)

Like Oliver Stone's "JFK" and Tim Burton's "Ed Wood", Scorsese had created a bit of monster for himself when he released "Goodfellas" in 1990. He created an undisputed, instant classic for which all of his subsequent films - as well as all other Mafia films - would be measured against. As magnificent as "Goodfellas" is, it can be considered a curse. This is evident in "Casino", Scorsese's more-or-less follow-up to the life depicted in "Goodfellas". It is an impressive achievement, even more dense and visceral than "Goodfellas", but it has received some derision over the years by those who have accused Scorsese of "copying himself." (How can a filmmaker "copy" himself anyway? Nobody has moaned about Spielberg constantly re-visiting the days of WWII.)
Merciless in presenting his strict attention to detail, Scorsese chronicles the rise and fall of Las Vegas under the grip of the Mafia from the early 1970's to the mid 1980's. Utilizing endless freeze-frames, multiple voice-over narrators, incessant music, swirling cinematography and eye-bruising set decoration, Scorsese brings us deep into the diamond-crusted bowels of the big business of Las Vegas and how the mob "skimmed" all they could from it for over a decade. Robert De Niro brings a subtle gravity to the role of Sam "Ace" Rothstein, a genius gambling pro from Chicago recruited by the Mafia to manage and operate the four largest casinos in Vegas. Rothstein's insurance arrives in the guise of childhood friend Nicky Santoro - now a hotshot Mafia captain (and rendered with crushing brutality by Joe Pesci). After years of successful slumming as a mid-level gambler, Rothstein sees Vegas as his shot at legitimacy. He tries to solidify his dream by marrying a high-class Vegas prostitute, Ginger McKenna (Sharon Stone), who despite her glamorous exterior and sturdy attitude, is ultimately emotionally lost and still desperately hung on her greasy pimp / boyfriend, Lester Diamond (nicely underplayed by the eternally sleazy James Woods). Ginger tires to escape Ace's marital clutch while still enjoying the perks of being the wife of the most powerful man in town, while Nicky disregards Ace's "nice-and-neat" policy of running business in favor of violent extortion and rampant thievery over everyone else in town. Ace sees the coupling together of his rocky marriage to Ginger with Nicky's aggressive attempts at taking over Las Vegas as problematic, but pride & greed prevent him from acknowledging the true severity of the situation. When Ginger and Nicky's frustrations with Ace inadvertently turn them toward each other, all hell breaks loose.
There are probably very few other films that hit the three-hour mark and fly by as quickly as "Casino". Longtime Oliver Stone cinematographer Robert Richardson gives Scorsese's Las Vegas a polished, glossy look; bathed in neons, pastels and solids of every color imaginable. God's gifts to Editors - that being Scorsese's number-one partner in crime, Thelma Schoonmaker, creates a smooth but frenetic pacing in Scorsese's storytelling. The music - which encompasses a bizarre brew of blues, swing, classical, doo-wop, rock and even punk - works wonders. Only Spike Lee is as skilled as Scorsese at utilizing music to re-create an era instead of merely advertising the film's accompanying soundtrack. De Niro's take on "Ace" Rothstein - who's obsessed with doing the job right - allows Scorsese to splurge on showcasing the in's-and-out's of Vegas. We see Ace chastise reckless dealers, slightly overweight dancers, and beleaguered chefs in excruciating detail. This is not limited to Ace's perceptions, Scorsese explains how money is won and lost, and how it is stolen - whether by the mob or by the players. The first hour of "Casino" could easily pass as a documentary on the mechanics of operating a gaming establishment.
Aside from the usual mainstays, De Niro and Pesci, Scorsese has assembled a stellar cast. Both Sharon Stone and James Woods give fiery interpretations of their tortured characters. Stone really surprised everybody with her performance here, but really - how many people would agree to act in a Martin Scorsese picture and sleep through it anyway? Vegas comedy legends Alan King and Don Rickles also appear in straight roles as a casino manager and a mob front, respectively. The great character actor/comedian Kevin Pollack also offers his talent as the mob's squeaky-clean front man. No performance falls flat here.
One way to angle the film for yourself if you're at all put-off by its structural similarities to "Goodfellas" need only regard this - "Casino" is basically an explanation of what would have happened to the characters in "Goodfellas" had they succeeded beyond the middle-class comfort of where they roamed. The film also contains the novelty value of displaying De Niro's ability to juggle! I try to be concise when writing reviews and not ramble as I have done here, but it is difficult to do so with a film like "Casino", because it is a film so crowded in its presentation. It's a traditional American Mafia story about gluttonous, reckless, greedy people. Nonetheless, it is another Scorsese masterpiece.