Archive for the Movie Reviews Category

Joe Bruno on the Mob – Andrea Giovino – Part 2

Posted in Cosa Nostra, criminals, Drug dealers, Drugs, FBI, FBI, Gangs, gangsters, Italian Americans, mafia, mobs, Mobsters, Movie Reviews, New York City, New York City murder, organized crime, police with tags , , , , , , , , , , , , , , , , , , , on March 23, 2013 by Joe Bruno's Blogs

By the time she was in the sixth grade, Angela was tall for her age and rather pretty, but somewhat of a tomboy. She played stickball and stoopball and porchball, but as a tribute to her girlish side, she also played potsy , a New York City term for hopscotch. She also sang and danced, and she played the lead role in the school play Annie Oakley, for which she received high acclaim from the staff at St. Rosa Lima.

When she was fourteen, the tall, lanky Andrea started  filling out in all the right places. To help support the family, Andrea got a job working the register at Bagato’s Italian Pastry Shop on Thirteenth Avenue in Brooklyn. The pay was off –the-books and sometimes included free day-old bread, which she took home to the delight of her mom (if you pop day-old bread into the oven for a few minutes, it tasted like it did when it was fresh).

The working conditions at the bakery were favorable, and the  Bagato family was friendly enough. Although Mr. Bagato, a short stocky man in his 40’s (aren’t all Italians?) spoke little English, he made Andrea feel like one of his brood.

Bagato’s Bakery was in Benshonhurst, several miles away from 689. During the weekdays, Andrea took the subway to get to and from work. But on the weekends, when her father was off from work, Frank Silvestri would take the trek to Thirteenth Avenue to pick up his daughter.

One Saturday, before the 5 PM closing, Mr. Bagato asked Andrea to help him out in a storeroom in the back of the store. Because of Mr. Bagato’s broken English, Andrea wasn’t sure what help he had needed. Andrea had never been in the back room before, so Mr. Bagato led the way. When they finally arrived in the back room, Mr. Bagato turned toward Andrea, and he held in his hand an erection the size of a large cannoli.

Andréa had never seen a man’s penis in a rigid state before, and it frightened her as if Mr. Bagato  had held a .38 pistol in his hand. Mr. Bagato grabbed one of Andrea’s wrists and tried to make her touch his thing, but Andrea would have no hand in that. She bolted free from Mr. Bagato’s clutches, and made a beeline for  the front door, where she ran right into her father, who was ringing the bell wondering what was taking his daughter so long.

Seeing Andrea’s flushed face, Frank Silvestri asked his daughter if everything was alright. Andrea said everything was fine, but her demeanor said different. Angela was a quiet as a church mouse on the way home, and her father was none the wiser.

When she arrived at 689 , her mother took one look at her and realized something was wrong. Andrea ran upstairs to her bedroom, and minutes later, her mother entered the room.

Andrea immediately spilled the beans about Mr. Bagato, showing the bruises on her wrist as proof. More than a little pissed, Dolly Silvestri ran down the steps and broke the news to her entire brood; including Andrea’s brother in-law Richie, who was roughly the size of Bruno Sanmartino.

The angry folks stuffed themselves into two cars, and made a mad dash to Bagato’s Italian Bakery. Once inside the bakery, the Silvestri family went on a rampage; knocking the baked goods on the shelves to the floors, turning over cases of food, and breaking whatever they could get their hands on.

While her minions were busy trashing the joint, Dolly went face to face with Mrs. and Mrs. Bagato; calling him names in two languages; most notably “child molestor.” Mrs. Bagato seemed confused and annoyed, but Mr. Bagato looked mostly scared. Finally, the rowdy Silvestri crew exited the premises and returned to their headquarters at 689.

Then for some reason, Dolly Silvestri forgot the laws of the streets which she had previously strictly adhered to, and did the unthinkable: she took Andrea to the police station. There, Andrea, at the urging of her mother, told her story to a detective, showing the bruises on her wrists as proof of Mr. Bagato’s  advances.

To the consternation of Mrs. Bagato (who should have been angry at her husband but only seemed angry at the law), Mr. Bagato was roused by the cops and marched to the police precinct to answer to the charges. Fire in her eyes, Mrs. Bagato accompanied her husband.

Once inside the precinct, Mrs. Bagato took charge. After first trying to physically attack the Silvestris (she was held back by the fuzz), Mrs. Bagato cried blackmail. She said her husband was faithful to her and wouldn’t think of touching a 14-year-old girl. Mrs. Bagato told the detective the reason for the complaint was that the Silvestris were putting the bite on the Bagatos, who were obviously well-off financially.

While Andrea took in Mrs. Bagato’s diatribe, she figured she rather be anyplace in the world rather than sitting in court listening to Mrs. Bagato impugn her family. This is when Andrea became old beyond her years. Once safely back at 689, Andrea convinced her mother having Mr. Bagato arrested would cause them problems they didn’t need. Dolly, probably figuring it would destroy her street rep if the news got out she ran to the cops instead of the local wiseguys, grudgingly agreed to drop the charges against Mr. Bagato.

Leave the Gun, Take The Giuliani

Posted in criminals, crooks, FBI, Gangs, gangsters, mafia, mobs, Mobsters, Movie Reviews, murder, New York City, New York City murder, organized crime, police, Uncategorized with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 26, 2011 by Joe Bruno's Blogs

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This article, written by Edward Ludvigsen, appeared Tuesday, July 26 on NYC Mob Tour
http://nycmobtour.wordpress.com/

Leave the Gun, Take The Giuliani

Certainly no stranger to self promotion, gangsters, or just hamming it the hell up— former prosecutor, mayor, misunderstood drag performer, and savior of NYC during 9/11 ( (just ask him, he’ll tell you), Rudy Giuliani will be hosting “Mob Week” on AMC from August 1 through 7. Giuliani is apparently a big Godfather fan, which will be great for him as AMC is playing the films in exhausting rotation over the course of the week. Over 300 hours of The Godfather, says quick math. Is that too much Abe Vigoda, or just enough to hook you for life? Food for thought.

One supposes that the former mayor of New York City is a sensible choice for a celebrity host, as he is very familiar with the organized crime landscape of the city. Notes The Gothamist:

Of course, Giuliani has always been a family guy—even when he was raiding bars during his mayorship, it’s long believed that he never touched Kokie’s—Williamsburg’s notorious members-only cocaine den—because it was owned by his friend’s brother (it was raided and shut down when Bloomberg came into office).

Breezing through AMC’s “Mob Week” schedule reveals a roster of all the expected biggies: Godfather, Goodfellas, Donnie Brasco, Untouchables, Scarface. More Pacino and DeNiro than you can shake a (bread)stick at. The Juror, curiously, is also in heavy rotation. Affordable syndication?

The only two films that stand out as being a little unexpected are Machine Gun Kelly, for which you will have to tune in at 4AM on August 2 to see, and . The latter is a funny little gem from 1993 starring DeNiro (playing against type), . It gets a few more time slots and may be easier to catch. It would have been nice to see a little more variety and unexpected fare within AMC’s gangland film festival. The Freshman, Mean Streets, and The Pope of Greenwich Village all spring to mind.

Got any favorite mobster movies that may NOT be amongst the expected family of classics? Let us know in the comments!

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Joe Bruno on the Mob – The Funeral – Movie Review

Posted in criminals, crooks, Gangs, labor unions, mafia, Mobsters, Movie Reviews, murder, New York City, organized crime with tags , , , , , , , , , , , , on February 11, 2011 by Joe Bruno's Blogs

You’d think a movie directed by Abel Ferrara, and with a stellar cast including, Christopher Walken, Vincent Gallo, Chris Penn, Anabella Sciorra, Gretchen Mol, Benicio Del Toro and Isabella Rossellini, would be a can’t-miss flick. Yet, “The Funeral,” a somber mob movie set in the Depression era 1930’s, falls flat on it’s face, with and ending so surreal and depressing, it almost makes watching the movie a total waste of time.

The movie begins with Gallo, who plays Johnny, the youngest of three mobster brothers, being carried in a coffin into the family house for viewing. The casket is opened and viewed by the oldest brother Ray (Christopher Walken) who says, “He died so young. Only 22 years old and look what they did to him.”

Now enters the crazy-eyed, middle brother Chez (Chris Penn), who intermittently laughs and cries at the sight of his younger brother in the coffin, and you get the idea that maybe Chez is not playing with a full deck; or maybe without any cards at all. Then we get the flashbacks, which try to explain how young Johnny got into the coffin in the first place.

The three Italian/American brothers are in cahoots with fellow mobster Gaspare (Benecio Del Toro), in some sort of a union busting operation. At a meeting in Chez’ bar, Gaspare lays down the law that things are to be done his way, or people may get hurt. Ray and Chez, reluctantly agree to Gaspare’s demands, but young Johnny laughs in Gaspare’s face, making Gaspare not too happy himself. When Gaspare exits the scene, Chez screams at Johnny, “What’s wrong with you?” Ray chimes in with, “You know what? You’re looking for trouble.”

Johnny was looking for more trouble than his two brother’s realized, and they found out quick how much trouble, when Johnny brings Gaspare’s wife, obviously drunk, to the family home for a few more pops. Ray demands that Johnny leave immediately and take the girl with him, but Johnny scoffs, “I’ll leave, but only after I have sex with her.”

One thing leads to another and we find out that Johnny is not only an adulterer, but also a Communist, who disdains the business he and his brother are engaged in, not to mention Gaspare in particular. There is scene in a union hall where a female agitator (Edie Falco of The Sopranos fame) incites the Communist pro-union crowd with a fiery speech, and afterwards, we realize Johnny was lucky he wasn’t killed long before he was 22 years old.

All three brothers have long suffering wives. Ray’s is played by the talented Anabella Sciorra (who co-produced the movie); Chez’ by the very beautiful Isabella Rossellini and Johnny’s by a very young, blond and pretty Grethcen Mol. None of the three women do anything more than look sad and hopeless throughout the movie, and you can’t blame them, considering they’re married to three base hoodlums, with no obvious redeeming values and not one iota of likeablity.

There is one memorable scene where Ray and his crew bring Gaspare to a “sitdown.” Ray accuses Gaspare of murdering Johnny, because Johnny was sleeping with Gaspare’s wife. Gaspare, as cool as a pina colada in Miami Beach, says with a shrug, “I’m only going to tell you this once. I did not kill your brother.”

The rest of the movie is one surreal scene after another, where Ray somehow turns into a two-bit philosopher, then a predictable murderer. (Oh I forgot, when Ray was a child of maybe 12 years old, Ray’s father, great man that he was, handed young Ray a gun and made him blow out the brains of some poor sucker, for reasons unknown.)

The final scene is so unbelievable, I can’t believe an accomplisher director like Ferrara didn’t leave it on the cutting room floor. And if necessary, end the movie with no ending at all, right in the middle of a scene (like in the last Soprano episode).

I’d like to give this morose movie zero stars, but the actors, especially Chris Penn, give believable, if not over-the-top performances. So in the interest of fairness, I’ll give “The Funeral” 1 out of 5 stars.

But don’t say I didn’t warn you not to waste the 98 minutes needed to sit through this very bad movie.

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