The Untouchables - Gli intoccabili

Quite a few words spring to my mind when I think of The Untouchables. Words like: Excellence, entertainment, larger than life and Sean Connery. These words basically summarize the entire film from my point of view of course because in my opinion (which I don't expect people to agree with) this is the best gangster film there is. Obviously people aren't going to agree because people prefer the likes of the operatic Godfather trilogy or the ultra realistic Goodfellas but in my head The Untouchables is the best.

Here are a few reasons why. First reason is that The Untouchables is just so darn entertaining. All the other films had completely different aims and even though I love a deep and brilliant story my main objective when I see a film is to be entertained and basically no film does that better than The Untouchables. That does not mean, however, that The Untouchables is just some half baked action comedy. No. There is genuine emotion and real story in this film. The story is, as most people know, loosely based on the actual events during the prohibition era in USA in the 1920s (the story is also based very, very loosely on the series that go by the same name) which to some extent means that what we see on the screen is real making the characters and general story seem that much more believable. This also adds greatly to the already very high entertainment value of the film because it draws the audience in. To add to the realism of the film the dialog is also very memorable and there are some great one-liners including some of my all time favorites in this film.

The acting is nothing short of brilliant. This is without a doubt Kevin Costner's best role. Some people have remarked that he seemed stiff and unable to portray the emotion of the character and to that I can only ask: Were we watching the same movie?! He is a hundred percent believable all the way through. In the beginning he seems a bit too much like a square I-wanna-do-some-good kind of character but as the story progresses he really evolves and becomes more and more emotionally involved in what he does. Both in his friends and in the cause. He even bends some of the rules he initially tried so hard to uphold. Brilliant. Charles Martin Smith does a good job as well and even though his character is very limited he still manages to pull the audience in. Andy Garcia appears in this film in a very limited role as well and he serves his purpose brilliantly. He is the sharpshooter of the group and he is perfectly believable in that part. He doesn't get to say much but what he does get to say is said with as much passion as I have ever heard from him (he seemed a little stale and lifeless in Godfather III). Robert DeNiro is great as Al Capone. He steals every scene he is in and he really brings the larger-than-life quality to the character which is extremely fitting. The film's best performance belongs to Sean Connery though. The film is for lack of a better expression a Sean Connery tour-de-force. Not only does he steal every scene he is in but he also brings the certain indescribable something to the character that he always does and in every situation you feel with him (as you do in all his films whether he is a villain or a hero). He also got a well deserved Oscar for his performance. People have claimed that the Oscar wasn't as much for this particular performance but an Oscar in recognition of his contributions to the film industry. This belittles his performance which I can safely say is the best of his career and one of the best displays of acting that I have ever seen.

The film also has a memorable score made by the legendary Ennio Morricone who is perhaps best known for the work he did with the equally legendary western director Sergio Leone (who doesn't know the score from The Good, the Bad and the Ugly) and in my opinion the score he did for The Untouchables is the best he has ever made. The score is very unlike most scores from the 80s which does that the film doesn't feel like an 80s film as much as Scarface which I find inferior to this masterpiece. The score is grand and epic just like the story and the effects. For an 80s movie the effects are pretty amazing. Once again everything works.

All in all The Untouchables is a riveting story which is highly recommendable to all fans of crime/gangster movies.

10/10 - on my top 10 of best films

Somehow, I just got around to this film after over thirty years. Kevin Costner plays the federal agent Elliot Ness. He pursues Al Capone during Prohibition. His main partner is Sean Connery as a Beat cop in 1930 Chicago. Robert DeNiro is Capone and all three are great. Connery won an Oscar. Ironically, it was tax evasion that was Capone's downfall. This is not a spoiler, as everyone knows the old story. Even so, the Untouchables is a violent and funny adventure. The script is precise and Brian DePalma's direction is as good as expected; never a dull moment. The two hours just flies by.

Director Brian De Palma is the son of a surgeon, and perhaps this explains his high tolerance for the bloodshed that has translated into brutal, raw scenes in 'The Untouchables'. Then again, this film is set during one of the bloodiest chapters of American history and demands unflinching depiction accordingly. Zooming in on prohibition-era Chicago, a dirty, dingy, crime-infested retreat of mafia, the film lets us know a special unit headed by Kevin Costner whose objective is to frame the super villain himself – Al Capone (Robert De Niro).

There are, in effect, three or four things that truly stand out about The Untouchables–an otherwise standard crime by-the-numbers romp–and at least one of them should be attributed to the surface of the spectacle; the costumework and settings are superbly breathed life into, as is De Palma's accolade, with a screen that is awash with lyrical colours and accompanied by a swelly, jazzy moonlit music score. Another worthy accolade is of course Sean Connery as detective Malone – an American-Irish cop on the beat and down with the ways of the street – who may deliver one of the worst accents in film history, but makes up for what he lacks in verbal power with heaps of charisma. Malone is given, by far, the best dialogue in David Mamet's script as when he instructs Kevin Costner on how to get to Capone: "He puts one of yours in the hospital, you put one of his in the morgue."

Another worthy staple to The Untouchables is its strong individual scenes. In the front row for these sits the notorious baseball bat scene in which a furious Al Capone beats one of his associates' head into a bloody pulp with a bat, right in front of all the guests at the grand dinner table. Robert De Niro gained weight for his role as the crime-lord Al Capone and approaches his character with commitment, but sadly he is ineffective in the film as De Palma does not quite know what to do with him. Instead he craggily intercuts Capone's boisterous speeches and monologues with the template storyline of Kevin Costner's special unit, and the former are incongruous to the key story of 'The Untouchables'. Here it regrettably becomes apparent that the film possesses all the necessary ingredients but no blender in which to stir it – and De Palma is largely to blame for lacking the necessary skill.

Having said that, The Untouchables keeps up the appearance of an epic crime film so rigorously through seamless costumes, stinky Chicago accents, vivid chases and a swarming taste to its sets that for a long time we are led to believe that De Palma has truly done it with this film. Certainly there are many scenes that testify to this and aptly camoflauge the shortcomings, such as the suspenseful pre-battle sequence at the Canadian border in which the Western-loving Costner is up on horseback to ambush the incoming shipment. Another is the first meeting between Andy Garcia and Sean Connery, in which the latter decides to recruit Garcia's Italian character in spite of racial feuding (Connery's supposed to be Irish), and instead because he likes his mouthy, bold attitude. Finally there is the unspeakably epic climax scene that plays on operatic in length through a long, glorious slow-motion capture by a staircase, politely nodding to The Battleship Potemkin's 'Odessa Steps Sequence'.

The whole film is in fact an operatic affair with technicalities deluxe. With its mindboggling ensemble (Kevin Costner, Sean Connery, Robert De Niro, Andy Garcia and Patricia Clarkson) it is easy to see how it is cuing us in to like it. To some extent it succeeds well, for it is suspenseful, but it is not well sewn-together. What good is a De Niro if you are not going to use him opposite the rest? What good is a Kevin Costner (who has never looked so ridiculously handsome in his career for that matter) if you are not going to let him emote? And lastly, what good is a large handful of fully-fledged wonderful scenes if you are not going to juxtapose them with something, instead of dishing them out every now and then to keep our interest?

7 out of 10

When I was 11 or 12, I thought that this was the coolest movie ever made. And why not? It had some great action scenes, extremely good heroes, and extremely nasty villains. On that level, the film is perfect. Now that I'm a bit older, I still enjoy the film a lot, just not as much as I used to. It certainly isn't on my top ten list.

In the 1930's, Prohibition is in full swing, and Chicago mob boss Al Capone (Robert De Niro) rules over his empire with bombs, bribes, and machine guns. Since Prohibition is very unpopular with the American people, who's going to stand up to Capone? Enter straight-laced young Treasury Agent Elliot Ness (Kevin Costner), who wants to do the right thing but realizes that the methods required are much more unorthodox, what with the corrupt police department and all. He enlists the help of an aging beat cop (Sean Connery in an Oscar-winning performance), a nebbish accountant (Charles Martin Smith) and a young police cadet who's a crack shot with a pistol (Andy Garcia) and begins taking down Capone "the Chicago way". After many shootouts, liquor raids, and assassinations, it all comes down to a climactic showdown - on the roof of a crowded courthouse! - between Ness and Capone's chief henchman, Frank Nitti (Billy Drago).

The movie is, as has been pointed out, much more faithful to the original television series with Robert Stack than the historical record, of which it bears virtually no resemblance, not that that is necessarily a problem. In real life, there were up to a dozen "Untouchables", whose success was very limited, and never got into any actual shootouts with Capone (though Capone did try to kill Ness himself on at least two occasions). Capone thought of Ness as a publicity seeking nuisance, nothing more; the two never even met face-to-face. Frank Wilson and the IRS had a LOT more to do with Capone's indictment than Ness and the Untouchables ever did. And of course Frank Nitti lived for over a decade after Capone was jailed.

That being said: who cares? This was intended as a fun, classy action movie, not a historical documentary. The movie is extremely authentic in attention to period detail, and though a bit over-the-top, it succeeds in its primary objective: to entertain. The movie was meant as a cross between a classy gangster film and a good old-fashioned cops'n'robbers shoot-'em-up, and was highly successful at that.

The acting is great all around, with Costner and Connery in particular giving one of their best performances. Costner does a creditable job at making Ness go from a greenhorn do-gooder (the scene where he yells at the corpse of a gangster he's had to kill is one of the movie's few weak moments) to a tough, hard-assed veteran in a little over two hours, no mean feat. Connery does a great job as Malone, the aging, guilt-ridden cop who becomes Ness's mentor (though his death scene is a bit overdone, I must admit I actually cried the first time I saw it!). Garcia and Smith have somewhat less to do, though each have their moments (Smith sipping bootleg whiskey during the bridge ambush, and Garcia's initial confrontation with Ness and Malone). De Niro, who made a career playing gangsters, takes the logical step of playing THE single most famous gangster of all time, Al Capone, and DeNiro, Method actor that he is, does a great job managing to look, sound, and act the part, despite very limited screen time (does ANYONE come away from this film not remembering the infamous baseball scene?). Drago fits the part of a sneering, one-dimensional villain, and manages to make Nitti a menacing and even charismatic character despite having little to work with. Other talented character actors - Richard Bradford, Jack Kehoe, Patricia Clarkson, Brad Sullivan, Del Close, Clifford James - round out the cast.

Where the movie excels, however, are its action sequences. The ambush of Capone's bootleg convoy at the Canadian border is simply exhilarating, and the suspenseful rooftop shootout between Ness and Nitti is extremely memorable as well. But what steals the show is the wonderfully done "Potemkin" homage in Union Station, where Ness and Stone try to apprehend Capone's book keeper, take out his bodyguards, AND save a baby carriage pluming down the stairs. Virtually the whole scene is done in slow motion, and is indescribably intense and even beautiful.

Ennio Morricone provides a wonderful score, and I'm not sure why he dislikes it so much, as he's said in interviews. True, it's not up to par with his works for Sergio Leone's films, but what is? He provides an exhilarating, heroic score which captures the feel and tone of the movie perfectly (though for my money, the heartbreaking "Death Theme", played on solo saxophone, is the best track).

Overall, "The Untouchables" is NOT a great gangster film, like "The Godfather" or "Once Upon A Time In America", nor is it an accurate account of the real-life events it portrays. But it's a fun, extremely stylish, well-made and enjoyable film, and on that score, I can wholeheartedly recommend it.

Score: 8/10.

This film takes place during the Prohibition, the golden age of American Mafia, and shows the difficulties that law enforcement ​​had to arrest Al Capone, Chicago's biggest mafia boss. Brian de Palma seems to have a powerful attraction for violence and the mafia, this being his second major film on the subject (the first, if I'm not mistaken, was "Scarface"), but there is no doubt that his work was good and deserves congratulations. The story is told from the point of view of law enforcement, which is a novelty since most of the films that focus on Al Capone tend to show his life, or moments of his criminal course. This film shows him as the big villain he was and glorifies police officers, easily transforming Eliott Ness (played brilliantly by Kevin Costner in one of the most interesting works of his career) into a paladin of justice and law. Robert De Niro revisits his gangster movies ("The Godfather", "Goodfellas" etc.) in a curious and comic interpretation of Al Capone, and Sean Connery plays a street policeman of Irish descent. In fact, it was precisely in this character that Connery got his only Oscar, despite all actors have fulfilled my expectations. The film is well constructed, looking to alternate epic action scenes (sometimes recalling in my mind the glory of cavalry battle charges) with moments of great psychological depth and some suspense. At times, however, the film seems a bit forced, with exaggerated appeals to sentimentality, as it does in the final sequence, often parodied or imitated in later films. Another problem with the film is that it is not faithful to historical events. Al Capone's arrest was not like that, nor was Ness behind it. The film contains some scenes of great violence and is inadvisable for children, adolescents and impressionable people.