Goodfellas is a real game-changer

Martin Scorsese’s masterpiece, starring Robert De Niro, Ray Liotta, and Joe Pesci, turned 30 just last year. The film seemed far removed from all the glory and pomp of Godfather (1971). Goodfellas portrays a real story, in palpable language, with mobsters walking around the movie sets and telling how to act for real. It was a hit amongst audiences and critics alike, and it is widely considered one of the greatest gangster movies of all time.

Goodfellas showed the cruelty of mob life in a very realistic fashion. It also helped to popularise the gambling environment. There are abundant casinos and gambling spaces, and this is where most of the real action takes place. With the advent of the internet, online gambling has also come to life for casino fans, and many of them are available on very user-friendly platforms. Goodfellas might have a long-lasting impact in more ways than one: it could help to legalise gambling in certain American states. Sites such as OLBG.com then came to life as a community for tipsters but also as a trusted source for finding legal casinos.

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It all started with a book

When Martin Scorsese read a review of Nicholas Pileggi’s Wiseguy book, he had an insight into the story’s potential even before reading the book. But the film director probably didn’t imagine that this would be the start of one of the most acclaimed mafia productions ever made. Goodfellas is still as exciting to watch as it was three decades ago, skilfully blending drama with documentary devices.

The story in the book is told from from the point-of-view of one of the gangsters, Henry Hill. Scorsese cast Ray Liotta as lead: Ray Liotta. The director remained its primary source: with free narrative and a “ wonderful arrogance,” as the director himself once said. “It would be a fascinating film if you made it the way it is: literally as close to reality as a fiction film could come. There is no need to falsely cultivate empathy for characters,” Scorsese declared in an interview with Film Comment in 1990.

Scorsese’s main interest in the story and his concern when producing the film is to portray the mafia lifestyle as faithfully as possible, especially by entering the minds of characters who didn’t know how to live any other way. “I was interested in what they did. And, you know, they don’t think about it much.” The director proposed to portray the characters’ actions and intentions in the most practical and primitive way possible. “I’m more concerned with showing a lifestyle and using Henry Hill (Ray Liotta) as a guide.”

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The true story

The real-life mobster Henry Hill participated in the production and praised the film. Sometimes movies play dirty. After Goodfellas‘ debut and subsequent success, Henry Hill told everyone his true identity despite being in a Witness Protection Program. It didn’t take long for the government to expel him from the Program. In 2012, Hill died of a heart attack at age 69. He was reportedly surprised that nobody managed to murder him.

The famous line “How am I funny? Funny how…? originated from an interaction between Joe Pesci and a real Italian mobster. When he was young, Joe Pesci worked at a restaurant and counted various mobsters amongst his clients. The film cast are genuinely surprised at the unexpected line. The character Fat Tony is played by NYPD officer Louis Eppolito, who grew up in an actual mob family.

Nicholas Pileggi interacted with many real mobsters of the time. Wiseguy is a non-fiction book based on such encounters. He also co-wrote the movie screenplay.

A Dirty Carnival (Biyeolhan Geori)

Byung-doo, 29, (Jo In-sung) is a smart, lean and hungry gangster on the mean streets of Seoul, in A Dirty Carnival. As a debt collector he successfully collects payments from difficult customers. Yet his immediate boss Sang-chul (Yun Je-mun) pays him so little that Byung-doo must constantly beg him for the money to pay his mother’s apartment rent. Looking out for those beneath him and determined to better himself in the wider organisation, Byung-doo realises that its overall boss Hwang (Chun Ho-jin) would like nothing more than to get the sycophantic Prosecutor Park (Kwon Tae-won) off his back. Sang-chul clearly isn’t going to do anything about it so Byung-doo takes the task upon himself. He and one of his men drive into the back of Park’s car in a secluded spot and he kills the prosecutor when they get out of their cars to exchange details.

Byung-doo’s best mate Min-ho (Min Nam-koong) is an aspiring film director who can’t sell the script for the gangster film on which he’s working because the studio producer he approaches doesn’t think it’s realistic enough. After meeting up with Byung-doo, Min-ho chances to observe the latter and his men caught up in a vicious fight to defend a nightclub’s premises. He realises that his old pal is a genuine, real life gangster and decides to mine him for all the background information he possibly can. The studio subsequently accepts Min-ho’s “much more realistic” script from which he makes a highly successful film. Alas, many of the scenes are lifted directly from life, including Park’s murder. Byung-doo eventually realises he may have to kill his friend in order to survive. But it may already be too late for both of them.

Before the two men’s relationship sours, Min-ho reintroduces Byung-doo to the girl he fancied in school Hyun-joo (Lee Bo-young), who now works in a bookstore. Their developing relationship is going well until the night a work colleague sexually harrasses Hyun-joo on the street and the outraged Byung-doo brutally beats him up in front of her. Horrified, she immediately walks away from him and out of his life, but he’s still fixated on her and wants the relationship to continue.

Unlike much of the more recent, slicker and formulaic Korean gangster fare, there’s a gritty sensibility recalling low budget, Hong Kong marvel Made In Hong Kong (Fruit Chan, 1997). Yoo’s narrative charts its way between compelling gang fights, ruthless killings, good and bad romantic episodes and down to earth, everyday scenes involving people unlucky enough to have for a relative a gangster whose deeds will adversely affect their own lives.

A Dirty Carnival would make a terrific double bill with GoodFellas (Martin Scorsese, 1990). Both boast well observed characters in terms of gangsters and their wives or girlfriends. Both involve loyalty and betrayal. As people are beaten up, killed or buried alive, the viewer is compelled to watch in horrified fascination. Looking at the plight of the gangsters’ womenfolk, we’re torn apart. Yet we like Byung-doo. He gives his job everything he’s got and treats the men below him in his organisation with great respect, looking out for their interests.

Like GoodFellas‘ three protagonists, Byung-doo is an outsider trying to work his way up the organisation’s ranks with the odds stacked against him. Tasked with moving poor residents out of an area so it can be developed to line his boss’ and his own pockets, it becomes clear just how ruthless and self-centred a social parasite he is. Alongside his traumatised girlfriend Hyun-joo, when he commits acts of extreme violence we want to get as far away from him as possible. We like him as a character in a movie just like we like the three guys in GoodFellas despite their horrifically violent acts, but we might not want anything to do with any of them in real life.

A Dirty Carnival is well-paced and grips the viewer in an emotional vice from start to finish. Ten years on, this neglected masterpiece has lost none of its ability to engage and shock in equal measure. It deserves to be far more widely seen.

A Dirty Carnival plays in the London Korean Film Festival taking place until November 19th, and it hits the road on the 12th, visiting various dirty cities across the UK.