Going in Style

Plot synopsis:
Joe (George Burns), Al (Art Carney), and Willie (Lee Strasberg) are three senior citizens who share a small apartment in Brooklyn, New York City. They are three retirees who live off monthly social security checks and spend their summer days sitting on a bench in a nearby park, reading newspapers, feeding pigeons, and fending off obnoxious children.It is a dull life, and finally Joe is driven to suggest something radical to break the monotony. After making their monthly visit to their bank to cash and/or deposit their social security checks, out of the blue Joe asks them: "why not go on a stick-up?" Al and Willie are reluctant to think about such a brash plan. None of them has a criminal history (though Joe claims he "did some stealing during the war"), but just planning the bank robbery fills them with optimism.Al surreptitiously borrows some pistols from the collection of his nephew, Pete (Charles Hallahan) who lives just a few miles away with his wife and three obnoxious children, and whom are having money problems themselves. Pete tells Al that he wants to open up his own furniture store, but the stress of paying for their mortgage as well as utility bills is getting to all of them. Al decides to himself that the bank robbery will help his nephew out financially.Al steals three pistols from Pete's gun collection, but cannot remember what kind of bullets that are to be used, so he takes all of them. Al, Joe, and Willie spend most of the day trying to fit which bullets go into their guns. After, loading a few of them, they take a trip by subway into Manhattan to look for a bank to rob and they decide on the First National Bank in the lower part of Manhattan.A few days later, the three guys execute their bank robbery. After dressing up in old plaid suits, they travel by train into Manhattan, then take a taxi from a street corner to the bank itself. Disguised with novelty Groucho Marx-style glasses, the trio pulls off their heist by walking in and Joe fires a warning shot into their air when the bank tellers do not take their threat to rob the bank seriously. The getaway is successfully, but clumsily carried out as they take the same taxi outside the bank to another street corner. The three then hurry to the nearest subway metro station where they are forced to throw the stolen cash into a backup suitcase to make sure no tracking devices are on the cash, (where a few witnesses see them spill some of the cash to the ground) and they catch the next train for home. Upon arriving back at their apartment, the count the money and it adds up to the tune of $35,900.Unfortunately, the excitement is too much for Willie, who suffers a fatal heart attack the same day when they go to the park as usual to celebrate their success. A few days later, at Willie's funeral, Joe and Al decide to give the bulk of the money to Pete and his family (worth about $25,000) without telling him where it's from. With $10,000 to live on, and aware that their days might be numbered, Al and Joe decide to splurge with the rest on a whirlwind excursion to Las Vegas which they pack up and leave all on that very same day.Al and Joe fly to Vegas, check into a fancy hotel, and decide to go gambling in the hotel's casino. Al plays some craps, while Joe also sets his sights on blackjack. Expecting to lose about half of the money, they instead find beginners luck and win even more money, totaling over $71,000. Al wants to keep on gambling because of their winning streak, but when Joe notices several angry and hostile-looking casino pit bosses staring at them over their winnings, he forces Al to stop and leave the casino. Worried that the mobster pit bosses will come after them for winning a large amount of their money, Joe forces Al to pack up and they check out of their hotel and catch the first red eye flight back to New York without spending the night.The next morning, Joe and Al arrive back at their apartment (none of them having slept for the past 24 hours since Willie's funeral). Exhausted, but happy at their new winnings, they both fall asleep. Later that afternoon, Joe wakes up and turns on the radio for the afternoon news where he hears that the eccentric bank robbery has become a colorful story for the media and the police announce that are closing in on the "careless amateur criminals". Joe tries to wake up Al to inform them they might be in trouble, but a closer inspection reveals that Al apparently died in his sleep, leaving Joe by himself.Worried that the police really might be closing in on them, Joe travels to Pete's house that evening where he confides in him about the bank robbery and about them winning a lot of dirty money in Las Vegas which that, totaling with the bank robbery loot totals over $107,000. Joe also tells Pete about Al's death and that the police might be closing in on him. He tells the emotionally devastated Pete to hide all the cash in a safety deposit box in the bank and not to confide in anyone, not even his wife or friends, about the bank robbery or about Joe and Al's trip to Vegas for the police would think that the $71,000 Vegas winnings is stolen money too. Pete reluctantly agrees to help cover for Joe and hide the money.Joe arrives back alone at his apartment and finds himself sad and alone. The next morning, Joe wakes up, dresses, eats breakfast, washes and dries the dishes, puts on a suit and tie to go to Al's funeral. Joe looks around the apartment knowing that it might be the last time he sees the place. Out on the street, Joe is immediately arrested by several policemen who move in. Joe is put in a police car and driven away while several officers storm the apartment, apparently to tear it apart to look for the stolen bank loot. At the local police station, a stubborn Joe confesses to the bank robbery, but refuses to tell the authorities, including a persistent FBI agent, where he has hidden the money.In the final scene, a few weeks later, Pete arrives at the state prison to visit Joe where he tries to persuade him to tell the authorities about where he hid the stolen bank loot. But the stubborn Joe tells Pete not to bother. Joe explains that it no longer matters to him if he remains in prison for the rest of his life. For several years, Joe already felt like he was in prison with living a dull life. Joe explains that he no longer has to cook and clean for himself in prison. He gets three square meals a day, and generally is getting "treated like a king around here." Joe tells Pete not to visit him again to avoid being suspected in his bank robbery plan, and to "enjoy his inheritance" of living off the bank robbery and Vegas money. As Joe is being escorted back to his cell by a guard, he looks mischievously at Pete and says: "besides... no tin-horn joint like this could ever hold me!"

Tags: comedy, satire

Review:
A short preview of this film on television might suggest a zany comedy in which old age-jokes fly fast and furious, but "Going in Style" is in fact a serious film, with only bits of humor thrown in here and there.
George Burns is Joe, a man who suggests to his two roommates (Art Carney and Lee Strasberg) that they rob a bank in order to relieve the boredom of retirement.
"Going in Style" has no caricatures (except, perhaps, Joe`s attorney) and, though the problems of old age are presented in a matter-of-fact way, the film is never preachy.
It should also be noted that it is gratifying to see a movie in which younger members of a family (Pete and Kathy) show such genuine respect and kindness to their elders.All the leads are terrific, but Burns is perfection itself as Joe. This film is very highly recommended..
However, I ended up being slightly disappointed with The Out of Towners while I was blown out of the water by how excellent Going in Style is.This is a film that's best to watch knowing as little as possible about the plot beforehand.
For those who must know something of the story, however, it concerns three elderly men who are living together in Astoria, Queens (part of New York City)--Joe (George Burns), Al (Art Carney) and Willie (Lee Strasberg).
The second half deals with the aftermath, and is kind of an extended character study.The most remarkable characteristic of Going in Style is that writer and director Martin Brest, with co-writer Edward Cannon, managed to make a film that has elements of both almost absurdist comedy and deeply moving realist drama co-existing at the same time.
Going in Style is a poignant portrait of old age, occasionally deeply sad and even pessimistic, but also very funny, and the three principal characters possess an almost Zen-like satiety, calmness and wisdom.It's interesting to note that Brest later went on to direct films as diverse as Beverly Hills Cop (1984) and Meet Joe Black (1998).
Going in Style has elements of both--Beverly Hills Cop's wacky crime-comedy and involved plot structure and Meet Joe Black's emotionally impactful minimalism and social/philosophical subtexts.
Carney and Strasberg both easily paint complex characters, as well, and the chemistry of any two or more of them together is simply magical.Brest, showing early inclinations towards minimalism, peppers the film with many extremely effective "pregnant pauses".
In both its comic and tragic modes, Going in Style tends to be a relatively "quiet" film--the tone/atmosphere reflects that Zen-like disposition that Brest and his cast create for the characters.
Brest emphasizes this by loading early scenes with such pauses, such as when our protagonist trio are sitting on the park bench and hatching their plan.The above might sound a bit ridiculous or overly abstract to some, but keep in mind that it's all part of Brest's touching portrait of old age (an incredible feat for a 27-year old writer-director, by the way).
Their scheme is relatively easy to pull off because with the slight exception of Willie, who interestingly has some issues from the past he is still trying to deal with and is thus a bit less comfortable with the present, they look at it as just another thing they can experience before they check out of the world, with the consequences of the scheme, no matter what they are, all having their advantages.Brest works in a bit of sly social commentary more conspicuously into the script, as well.
George was 79 years old when this film was made and had never really "acted" in the traditional sense of playing an imaginary role, and yet he won an Academy Award for best supporting actor!!!The Book Of Lists mentioned this as one of the most amazing accomplishments ever at an advanced age!!Then George played another great role in the "Oh God" series.
I wrote to Art Carney several years ago and asked him what it was like working with George Burns and he told me that George was a joy to work with and a real pro and one of the nicest people he ever worked with!
I think that the saddest scene in the film is where George is looking thru some old photos of himself as a young man and breaks down crying and wets himself.
It stars George Burns (in the performance of his career), the always brilliant Art Carney, and the excellent Lee Strasberg as three old senior citizens who decide to rob a bank out of boredom.
Although bank robbery is hardly endearing, director Martin Brest (doing very nimble work) glosses over the extremities and gives us George Burns, Art Carney and Lee Strasberg at their most amiable.
GOING IN STYLE is a sweet little film starring George Burns, Art Carney, and Lee Strasberg as a trio of oldsters struggling to survive on their pension money.
When he met the 27-year-old director Martin Brest, he quipped, "I have neckties older than you." Burns and Carney had already won their Oscars by the time this was made.
Martin Brest is best known for his popular successes BEVERLY HILLS COP, MIDNIGHT RUN and SCENT OF A WOMAN, but more recently his career made a bit of a tumble with the disastrous GIGLI (2003), starring Ben Affleck and Jennifer Lopez and snoozefest (and trying so hard to be 'profound') MEET JOE BLACK (1998), but this little gem is how he got noticed (and might even be his best effort yet).The story is simple: three kindly old men (George Burns, Art Carney and Lee Strasberg), indistinguishable from the half-forgotten ranks of senior citizens you might pass on any city park bench in warm weather, decide to light up their lives by sticking up a Manhattan bank in broad daylight.Don't be put off by the idea of 'three old guys robbing a bank.' This film is a delight in a very New York and very low-key fashion with hardly any grand scenes or set-ups, but with great writing, sharp dialog and the three leads giving their very best.
When they get to Vegas, it would be so easy to do quick cuts of their winning streak with appropriate music blasting, but Brest stretches the scene so that we are not sure if they will keep their gains.Any sentiment comes hard earned, like watching Joe stumbling around the apartment after the death of Willie, finding his own album of photographs and reflecting, only to have nature spoil the mood..
A terrific gem of a film.Three elderly men are so bored with their lives that they rob a bank and actually get away with it for a while.The trio are all masterfully played by Art Carney, Lee Strasberg and George Burns.With the robbery behind them, it's time for vacation in flashy Las Vegas.
This is probably George Burns, Art Carney and Lee Strasberg's shining moment on film.
And yet, at 28, director Martin Breast created a flawless gem getting three outstanding performances out his senior citizen leads (George Burns, Art Carney, and Lee Strasburg).
George Burns, Art Carney and Lee Strasberg play Joe, Al and Willie, who are three septuagenarian guys who decide to live life in the fast lane beginning with a twilight bank robbery one sunny day.
GOING IN STYLE afforded three outstanding actors with a real script, which takes the absurd situation all of we in the U.S. are headed for- an old age in which all one does is viewed as extraneous to "real" life- and turns it a into a bittersweet drama.
There's a saying; 'those who can, do, those who can't teach'I'll come back to this in a minute.Going In Style's a film, in a style I love; it's a terrific 'caper' film, but, this time, instead of the usual types of crooks, i.e., the ex-cons just outta the joint, who wanna make one big score, or the group of misfits, who are brought together by a central character, but, each member has their own hidden agenda(s),, it's 3 men - 3 old men, who find sitting on a park bench, quietly - 'enough activity' for one day.When I grew up, I was never a fan of George Burns - it seemed the media made him out to be a monument to longevity, and Mr. Burns, being no fool - gave them what they wanted (and he got the cheques!); the sweet, slightly lecherous, geriatric grandpa-type - in a tux, with a stogie in mouth.Mr. Carney had done the Honeymooners, and though I never enjoyed the series, I always found Art a very interesting actor, who wasn't given too many chances to show what he could do.
those over 40, and especially women many leading roles, so, I know it wasn't Mr. Carney's not wanting to work).The 3 actors are 3 men, who all have very different takes on what it means to be 'older' in New York City.Joe (George Burns) is bitter at his lot in life.
The last (and, to me - least) of the trio is played by Lee Strasberg, as Willie - he's really almost a catatonic shell - so burnt out - either for real, or just doesn't give a rat's behind, he's (mentally) off in the æther - former feeding the pigeons, until it's his turn.Now, Mr. Strasberg founded the Actor's Studio, in New York City, and many illustrious actors were associated with it - and the 'Method' (style acting), including Marlon Brando, and (ah!) the supremely under-appreciated Marilyn Monroe.Mr. Strasberg's appearances in film, or, on stage are very limited - and though some may say this was because he was 'busy training actors', my personal feeling - of his talent are very limited.Back to the opening quote; that's a direct jab at Mr. Strasberg.
Though I truly enjoy this film, I think the one thing which weighs it down is Strasberg, and I thank the editor's for making his non- performance as least irritating as possible (in 'Method' acting - the 'Cliff notes' version, the actor has to have 'motivation' - understanding for everything about their character.
True, there were/are some very brilliant performances, but, by-and-large, I think that if one were to weigh 'great' against 'poor' Method performances, the scale would be tipped heavily in the 'poor' direction).If one is - like me - someone who watches a film from differing 'aspects', i.e., focusing on one performance, during one viewing, etc., then when I'm seeing/focusing on Strasberg's performance, he literally comes off as a shuffling, mentally vapid old shell.Now that I've told you what (I think) is the dross, I turn to the other 2/3rd's; Burns and Carney.Burns does a delightful 180°'s on the 'old, lecherous, geriatric' he'd been playing for the better part of the decade, on various network specials.
He still sings songs from 'back when', he's trying to hold on - in a optimistic way.The writing by Mr. Brest (who was a 'kid' - only 28 - when he wrote and directed this (!) is wise beyond those 28 years, in the writing - the character's 'voices' are so well shaped, and the direction is also good.If you want to see a good film which shows just what all those people we ALL see sitting on those benches would secretly love to do, themselves, watch Going In Style.You'll have laughs, and as with any competent 'caper' flick, plenty of thrills..
Lee Strassberg when he wasn't being the king of crime as Hyman Roth in The Godfather Part II decides to dabble in it along with his two elderly friends George Burns and Art Carney in Going In Style.
And George Burns managed to extend his career decades with an Oscar for The Sunshine Boys and a slew of jokes about how old he was.These three play elderly friends who in their declining years are having trouble making ends meet.
Other than the leads the only character given any depth is that of Charles Hallahan playing Carney's nephew who does a fine job.Going In Style on the strength of its elderly leads has some serious things to say about old age and how rough it can be.
Three elderly roommates on Social Security decide to rob a bank in "Going in Style," a 1979 film directed by Martin Brest.
It stars three great masters: George Burns, Art Carney, and Lee Strasberg, who is probably more famous as an acting teacher.These three spend their final years sitting in the park, watching children play, the birds, and occasionally talking.
In one scene, when Al's (Art Carney) nephew and his family take Al to their place for a few days, Joe sits alone and looks at his old photos.
A very touching scene.All of these men demonstrate the emptiness of old age when one feels he is no longer useful, when most friends and family are gone, when you're not sick but not well either.
Boredom and low expectations had become a part of life in the New York/New Jersey urban area for the characters in the film as well as for the era in the 70's, and this is the background depicted in every scene of "Going in Style." The plot has a couple of minor holes, the only one worth mentioning is that there's really no indication at all as to how the police figured out who to pursue, but the foundation of this film is the absolutely remarkable performance by George Burns, who proved that he was not only a comedian and a beloved personality but a true actor.
Joe (George Burns), Al (Art Carney), and Willie (Lee Strasberg) are three geriatrics who share an apartment together in Brooklyn and spend their days sitting on a park bench, talking aimlessly amongst themselves or just sitting in silence as they decay in public.
After watching three great character actors perform the dialog, events, and antics of a criminally underrated writer/director, I felt that Going in Style had been depressingly overlooked by the general public and deserved not just a rewatch but an reconsideration for its themes and ideas on age.To begin with, Burns, Carney, and Strasberg are all tremendous here, with no character outshining another as they all get their moments to shine.
Joe, Al, and Willie could've easily been confined to this life till they died, but because of Joe's ostensibly outlandish but, in reality, somewhat practical proposal, the three can carry out something that makes them feel like they have meaning and significance.Consider the scenes when the men plan the robbery and how they plan to handle the understandably panicked bank tellers and customers.
Do the crime, do the time (maybe), get the bragging rights.The film was directed by Martin Brest, who later went on to do Beverly Hills Cop, Meet Joe Black, and Midnight Run, all of which have gone on to bear more prominent reputations than the unassuming Going in Style.
Brest has always been one for action comedies, but Going in Style showcases an early point in his career where he seemed fascinated by the idea that adrenaline can still be had by the most unsuspecting people doing the most unsuspecting things.
Ignoring its unremarkable legacy and future, this is a hilarious film with underrated meditations on life and age that shouldn't go unnoticed.Starring: George Burns, Art Carney, and Lee Strasberg.
He acts like he was 50 years younger, and unpretentious, but bravura acting by him, Strasberg and Carney is greatly helped by witty dialog,and great directing by Martin Brest, who also wrote this gem, a simple story with a heart.
Slipping out virtually unnoticed was this delightful movie, proving yet again that big budget does not always mean better entertainment.'Going In Style' starred George Burns, Art Carney, and Lee Strasberg as three pensioners whose lives consist of feeding ducks in parks, watching television, and reminiscing about the past.
Joe ( Burns ) is thoroughly bored by this, and comes up with a plan to generate some excitement - namely rob a bank.
He is dead serious, and talks the other two into going along with him.They pull the job ( wearing old suits and joke-shop masks ) but the excitement proves too much for Willie ( Strasberg ) - he dies of a heart attack.Joe and Al ( Carney ) fly to Las Vegas to splash their loot in an orgy of non-stop gambling.
Feisty Joe (a marvelously sprightly performance by George Burns), jolly Al (a terrific Art Carney), and mopey Willie (the excellent Lee Strasberg) are three old retirees who share an apartment in Queens, New York.
Earlier in the film, Joe says, "A stick-up guy I used to know a long time ago told me that the most important thing is to put fear into everybody right away." Then, Willie asks at one point, "What if we get shot?" Already, this heist for the excitement of it was on the edge of violence.
So, Joe, Al and Willie are having an adrenalin rush with a little excitement at the expense of several dozen people likely fearing for their lives.
George Burns, Art Carney and Lee Strasberg are really old-timers.
Here he's joined by George Burns and Lee Strasberg as retirees trying to make ends meet as their lives hit the doldrums sitting on park benches and watching the rest of their years pass by.
One thing I had to check was the ages of the three actors in the picture; Carney is actually the youngster of this group at sixty one when the film was made.
Once all the shenanigans with the bank job are out of the way, the story turns poignant for Joe Harris (Burns) as he has to endure the passing of his two long time buddies.
George Burns and Art Carney work well together throughout this movie.
Anyone know if that's her in this movie?Interesting that such a nice natural adorable performance, just her playing with her Uncle Art Carney wouldn't be credited.