**Robert De Niro’s Dual Role in *The Alto Knights* Cannot Redeem This Confusing Gangster Film**
The notion of Robert De Niro embodying two infamous gangsters may entice enthusiasts of *Goodfellas* or *The Godfather* series to check out *The Alto Knights*. However, while the premise is captivating, the execution is perplexing.
### A Promising Concept That Misfires
In theory, *The Alto Knights* possesses all the ingredients for an exceptional gangster film. It narrates the true story of Vito Genovese and Frank Costello, childhood companions who turned into adversarial crime lords. The film features all the traditional elements of the genre—battles for power, sharp-tongued wives, brutal betrayals, criminal plotting, and merciless violence.
With a script adapted by Nicholas Pileggi, the author known for *Goodfellas* and *Casino*, and De Niro at the forefront, expectations were predictably elevated. Nevertheless, director Barry Levinson (*Sleepers, Dope Thief*) makes puzzling decisions that waste the film’s potential, resulting in a fragmented and exasperating viewing journey.
### Why Does De Niro portray Two Characters?
From the beginning, Genovese and Costello are depicted as vastly dissimilar gangsters, despite their common roots. Both Italian immigrants, they forged a friendship in early 1900s New York, eventually climbing the ranks of organized crime under Lucky Luciano’s wing. By the 1930s, Genovese was appointed to lead the family, but a murder inquiry forced him to escape to Italy, leaving Costello in command. Over time, Costello flourished, accumulating wealth and political clout, while Genovese remained a more conventional street-level criminal.
In *The Alto Knights*, Costello is portrayed as a cultured, well-connected philanthropist, gracing high-society functions with his sophisticated wife Bobbie (Debra Messing). Conversely, Genovese appears as a rougher, more unpredictable figure, chain-smoking cigars and issuing threats.
De Niro’s depiction of Costello is recognizable—calm, calculating, and subtly threatening, reminiscent of his role in *Killers of the Flower Moon*. His portrayal of Genovese, on the other hand, is more erratic, featuring a high-pitched, sharp delivery that occasionally seems reminiscent of a Joe Pesci impression. Although prosthetics aid in distinguishing the two roles, their shared mannerisms give the impression that the dual casting leans more towards novelty than a significant artistic decision.
If Levinson aimed to emphasize the contrast between the trajectories of the two men, the choice to cast different actors for their younger selves (Luke Stanton Eddy as young Frank and Antonio Cipriano as young Vito) dilutes that intent. Instead of effectively employing flashbacks, the film relies on black-and-white photographs, archival clips, and overabundant voiceover narration that rushes through pivotal moments.
### A Gangster Film That Feels Hasty and Unfocused
Gangster films are generally lengthy, allowing time for complex plots to unfold and immerse viewers in the realm of organized crime. *Goodfellas* lasts 2 hours and 26 minutes, *Casino* for 2 hours and 58 minutes, and *The Godfather Part II* runs for an extensive 3 hours and 22 minutes. These films take their time, cultivating tension and atmosphere, enabling viewers to appreciate the allure of the mob lifestyle before witnessing its eventual collapse.
In sharp contrast, *The Alto Knights* comes off as hurried, as if it is restless with its own narrative. The film begins in medias res with the 1957 assassination attempt on Costello, accompanied by his voiceover recounting the events leading up to it. Rather than captivating the audience, the film overwhelms them with montages, archival footage, and awkward exposition.
Voiceover narration can serve as a robust storytelling mechanism, as demonstrated in *Goodfellas*, but here it seems that De Niro is being utilized as a makeshift remedy to tie the film together. Levinson’s excessive use of narration glosses over decades of crucial occurrences, reducing significant moments to mere fleeting references rather than impactful scenes.
Moreover, the film’s editing decisions are perplexing. Scenes are frequently cross-cut in a way that feels random rather than intentional. Ideally, cross-cutting should amplify tension or draw meaningful connections among events, but here it appears to be a desperate attempt to reduce the runtime. Consequently, the film lacks the essential space to cultivate suspense or emotional resonance.
### Strong Performances Can’t Salvage a Weak Film
Despite its structural weaknesses, *The Alto Knights* features several notable performances. Messing is impressive as Costello’s astute and pragmatic spouse, while Kathrine Narducci injects fiery energy as Genovese’s outspoken lover. The supporting cast, including Matt Serv