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Casino 1996

casino 1996

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The bosses are arrested and put on trial and decide to eliminate anyone involved in the scheme to prevent them from testifying. Among those killed are three casino executives, Teamsters head Andy Stone, and money courier John Nance.

Ginger travels to Los Angeles and ultimately dies of a drug overdose in a motel. Sam himself is almost killed by a car bomb and suspects Nicky was behind it.

Before Sam can take revenge, Nicky and Dominick are ambushed by Frankie and their own crew, beaten, and buried alive in a cornfield, the bosses' having had enough of Nicky's behavior and suspecting his role in Sam's car bombing.

With the Mob now out of power, the old casinos are purchased by big corporations and demolished. The corporations build new and gaudier attractions, which Sam laments are not the same as when the Mafia was in control.

Sam subsequently retires to San Diego and continues to live as a sports handicapper for the Mob, in his own words, ending up "right back where I started".

The research for Casino began when screenwriter Nicholas Pileggi read a report from the Las Vegas Sun about a domestic argument between Frank "Lefty" Rosenthal , a casino figure, and his wife Geri McGee , a former topless dancer.

Argent was owned by Allen Glick, but the casino was believed to be controlled by various organized crime families from the Midwest.

This skimming operation, when uncovered by the FBI, was the largest ever exposed. Pileggi contacted Scorsese about taking the lead of the project, which became known as Casino.

Scorsese and Pileggi collaborated on the script for five months, towards the end of Some characters were combined, and parts of the story were set in Kansas City instead of Chicago.

A problem emerged when they were forced to refer to Chicago as "back home" and use the words "adapted from a true story" instead of "based on a true story".

They also decided to simplify the script, so that the character of Sam "Ace" Rothstein only worked at the Tangiers Casino, in order to show a glimpse of the trials involved in operating a Mafia-run casino hotel without overwhelming the audience.

The scene was too detailed, so they changed the sequence to show the explosion of Sam's car and him flying into the air before hovering over the flames in slow motion—like a soul about to go straight down to hell.

Filming took place at night in the Riviera casino in Las Vegas, with the nearby defunct Landmark Hotel as the entrance, to replicate the fictional Tangiers.

According to the producer Barbara De Fina , there was no point in building a set if the cost were the same to use a real-life one.

Several edits were made in order to reduce the rating to R. Upon its release, the film was heavily criticized for its intense violence.

It received mostly positive reviews from critics; however, their praise was more muted than it had been for the thematically similar Goodfellas , released only five years earlier, with some reviews criticizing Scorsese for retreading familiar territory.

The site's critical consensus reads, "Impressive ambition and bravura performances from an outstanding cast help ' Casino pay off in spite of a familiar narrative that may strike some viewers as a safe bet for director Martin Scorsese" [14] On Metacritic , the film has a weighted average score of 73 out of , based on 17 critics, indicating "generally favorable reviews".

From Wikipedia, the free encyclopedia. Redirected from Casino film. For the film Ho Kong Fung Wan a. Nicholas Pileggi Martin Scorsese. Love and Honor in Las Vegas.

Retrieved 28 October Retrieved August 21, The Rough Guide to Film: Retrieved December 23, Retrieved July 10, Retrieved July 5, Retrieved January 21, Street Scenes Italianamerican American Boy: Retrieved from " https: Views Read Edit View history.

Ace is the smooth operator of the Tangiers casino, while Nicky is his boyhood friend and tough strongman, robbing and shaking down the locals. However, they each have a tragic flaw--Ace falls in love with a hustler, Ginger, and Nicky falls into an ever-deepening spiral of drugs and violence.

Casino is a very good film. I certainly enjoyed the film. But I don't think that Casino is at all a "perfect" film. An 8 out of 10 may seem high, but if you're familiar with my reviews, you'll know that it's not that high of a score from me--it's closer to average from me.

There are plenty of flaws here, and I'm going to spend some time pointing them out, particularly since the film receives so many 10's. The hotel became the Tangiers for the film.

The mob backs Rothstein but has to set up a false front while Rothstein "secretly" runs the hotel, because of his gambling charges back East.

Meanwhile, mob strong-arm Nicky Santoro Pesci heads out to Vegas to protect Rothstein, but eventually ends up running his own rackets and trying to effectively take over the town.

Casino is the story of the relationship and political problems that this cast of characters and a number of associates run into.

It's roughly a gradual road to destruction for everyone involved. The film is unusual in many ways. The most prominent oddity is that a large chunk of it is told via alternated narration from the two main characters, Rothstein and Santoro.

The aim was probably to include a lot more of Pileggi's book, in a more literal way, than would have been possible through more conventional means. It's remarkable that the narration works as well as it does, especially because a lot of it is given a rapid-fire delivery.

For at least the first 15 minutes, there is barely a pause in the narrational dialogue. One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening.

He employs a lot of fast cuts while presenting very stylized, documentary-like footage. The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.

This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.

This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.

That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy. All the material is necessary to the story, but it could have been tightened up a lot more.

While I like the songs--I've owned the CD since it came out and I listen to it often enough--and the songs can help set the mood for some scenes, they become a bit too incessant and overbearing for the story after awhile.

It begins to approach the dreaded "mix tape" mentality, where the songs are just there because the director wanted to share some bitchin' tunes that he likes a lot.

A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better.

Presumably, Scorsese was shooting for something like a sensory assault, since that's what you get in Vegas. The visuals are filled with neon lights, flashy clothes I love Rothstein's suits , flashy people and such.

The soundtrack is probably meant to match. But in that case, if I were directing, I think I would have went for a combination of commissioned music that incorporated a lot of casino sounds, or that mimicked a lot of casino sounds--the cacophonous electronic symphony of various machines constantly going through their modes--with schmaltzy show tunes, ala Liza, Jerry Vale, Tom Jones, Wayne Newton, etc.

That Scorsese was trying to give a Vegas-styled sensory assault is also supported by the audio-visual contrast between the Vegas scenes and the scenes in other locations, such as Kansas City.

So I can understand the motivation, but I'm not sure the final result exactly worked. Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods.

The plot and characters are written and performed so that the viewer can see the disasters coming way before the characters can--and that's how it should be.

For example, as a viewer, you know as soon as it starts that it's a bad idea for Rothstein to kowtow to McKenna to win her hand in marriage, but Rothstein is blind in love and he ends up paying for it.

Everything unfolds almost a bit predictably in this respect, and another slight flaw is that we're shown the penultimate moment of the film right at the very beginning.

It tends to make it feel even more stretched out, as you keep anticipating that scene. But the slight flaws shouldn't stop anyone from seeing this film, and of course, quite a few viewers feel that there are no flaws at all.

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1996 casino -

Als Ginger ihn jedoch auffordert, Ace umzubringen, lehnt er ab, da das seine Reputation bei den Bossen gefährden würde. Diese Seite wurde zuletzt am 3. Übernachtet am August Pat Webb Dick Smothers: Wer klopft denn da an meine Tür? Check in nett und freundlich. Durch die Nutzung dieser Website erklären Sie sich mit den Nutzungsbedingungen und der Datenschutzrichtlinie einverstanden. Sind Sie interessiert an Booking. Die Stornierungs- und Vorauszahlungsbedingungen ändern sich je nach Zimmerkategorie. Fallsview gebucht, aber nicht ansatzweise die Wasserfälle zu sehenruhig und sauber Ruhig und sauber Übernachtet am Juli

The bosses are arrested and put on trial and decide to eliminate anyone involved in the scheme to prevent them from testifying.

Among those killed are three casino executives, Teamsters head Andy Stone, and money courier John Nance. Ginger travels to Los Angeles and ultimately dies of a drug overdose in a motel.

Sam himself is almost killed by a car bomb and suspects Nicky was behind it. Before Sam can take revenge, Nicky and Dominick are ambushed by Frankie and their own crew, beaten, and buried alive in a cornfield, the bosses' having had enough of Nicky's behavior and suspecting his role in Sam's car bombing.

With the Mob now out of power, the old casinos are purchased by big corporations and demolished. The corporations build new and gaudier attractions, which Sam laments are not the same as when the Mafia was in control.

Sam subsequently retires to San Diego and continues to live as a sports handicapper for the Mob, in his own words, ending up "right back where I started".

The research for Casino began when screenwriter Nicholas Pileggi read a report from the Las Vegas Sun about a domestic argument between Frank "Lefty" Rosenthal , a casino figure, and his wife Geri McGee , a former topless dancer.

Argent was owned by Allen Glick, but the casino was believed to be controlled by various organized crime families from the Midwest.

This skimming operation, when uncovered by the FBI, was the largest ever exposed. Pileggi contacted Scorsese about taking the lead of the project, which became known as Casino.

Scorsese and Pileggi collaborated on the script for five months, towards the end of Some characters were combined, and parts of the story were set in Kansas City instead of Chicago.

A problem emerged when they were forced to refer to Chicago as "back home" and use the words "adapted from a true story" instead of "based on a true story".

They also decided to simplify the script, so that the character of Sam "Ace" Rothstein only worked at the Tangiers Casino, in order to show a glimpse of the trials involved in operating a Mafia-run casino hotel without overwhelming the audience.

The scene was too detailed, so they changed the sequence to show the explosion of Sam's car and him flying into the air before hovering over the flames in slow motion—like a soul about to go straight down to hell.

Filming took place at night in the Riviera casino in Las Vegas, with the nearby defunct Landmark Hotel as the entrance, to replicate the fictional Tangiers.

According to the producer Barbara De Fina , there was no point in building a set if the cost were the same to use a real-life one. Several edits were made in order to reduce the rating to R.

Upon its release, the film was heavily criticized for its intense violence. It received mostly positive reviews from critics; however, their praise was more muted than it had been for the thematically similar Goodfellas , released only five years earlier, with some reviews criticizing Scorsese for retreading familiar territory.

The site's critical consensus reads, "Impressive ambition and bravura performances from an outstanding cast help ' Casino pay off in spite of a familiar narrative that may strike some viewers as a safe bet for director Martin Scorsese" [14] On Metacritic , the film has a weighted average score of 73 out of , based on 17 critics, indicating "generally favorable reviews".

From Wikipedia, the free encyclopedia. Redirected from Casino film. An 8 out of 10 may seem high, but if you're familiar with my reviews, you'll know that it's not that high of a score from me--it's closer to average from me.

There are plenty of flaws here, and I'm going to spend some time pointing them out, particularly since the film receives so many 10's.

The hotel became the Tangiers for the film. The mob backs Rothstein but has to set up a false front while Rothstein "secretly" runs the hotel, because of his gambling charges back East.

Meanwhile, mob strong-arm Nicky Santoro Pesci heads out to Vegas to protect Rothstein, but eventually ends up running his own rackets and trying to effectively take over the town.

Casino is the story of the relationship and political problems that this cast of characters and a number of associates run into.

It's roughly a gradual road to destruction for everyone involved. The film is unusual in many ways. The most prominent oddity is that a large chunk of it is told via alternated narration from the two main characters, Rothstein and Santoro.

The aim was probably to include a lot more of Pileggi's book, in a more literal way, than would have been possible through more conventional means.

It's remarkable that the narration works as well as it does, especially because a lot of it is given a rapid-fire delivery. For at least the first 15 minutes, there is barely a pause in the narrational dialogue.

One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening. He employs a lot of fast cuts while presenting very stylized, documentary-like footage.

The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.

This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.

This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.

That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy. All the material is necessary to the story, but it could have been tightened up a lot more.

While I like the songs--I've owned the CD since it came out and I listen to it often enough--and the songs can help set the mood for some scenes, they become a bit too incessant and overbearing for the story after awhile.

It begins to approach the dreaded "mix tape" mentality, where the songs are just there because the director wanted to share some bitchin' tunes that he likes a lot.

A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better.

Presumably, Scorsese was shooting for something like a sensory assault, since that's what you get in Vegas. The visuals are filled with neon lights, flashy clothes I love Rothstein's suits , flashy people and such.

The soundtrack is probably meant to match. But in that case, if I were directing, I think I would have went for a combination of commissioned music that incorporated a lot of casino sounds, or that mimicked a lot of casino sounds--the cacophonous electronic symphony of various machines constantly going through their modes--with schmaltzy show tunes, ala Liza, Jerry Vale, Tom Jones, Wayne Newton, etc.

That Scorsese was trying to give a Vegas-styled sensory assault is also supported by the audio-visual contrast between the Vegas scenes and the scenes in other locations, such as Kansas City.

So I can understand the motivation, but I'm not sure the final result exactly worked. Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods.

The plot and characters are written and performed so that the viewer can see the disasters coming way before the characters can--and that's how it should be.

For example, as a viewer, you know as soon as it starts that it's a bad idea for Rothstein to kowtow to McKenna to win her hand in marriage, but Rothstein is blind in love and he ends up paying for it.

Everything unfolds almost a bit predictably in this respect, and another slight flaw is that we're shown the penultimate moment of the film right at the very beginning.

It tends to make it feel even more stretched out, as you keep anticipating that scene. But the slight flaws shouldn't stop anyone from seeing this film, and of course, quite a few viewers feel that there are no flaws at all.

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1996 casino -

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Casino 1996 -

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Casino 1996 Video

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