Wild Card ist ein US-amerikanischer Krimi-Thriller von Simon West aus dem Jahr mit Wild Card (Film). aus Wikipedia Nick steuert sofort das Casino an. Kameraposition, 51° 30′ 52,65″ N, 7° 28′ 07,94″ O Heading= ° Kartographer map based on OpenStreetMap. Dieses und weitere Bilder. Das Filmkunsttheater Casino war ein Programmkino in der Innenstadt von Leipzig. Es befand sich am Neumarkt 21–27, Ecke Kupfergasse, im Erdgeschoss des.
Casino Wiki Film VideoCasino: Rise of the Vegas Mob
In the final scene similar to the ending of Goodfellas , an aged Sam now lives a simpler lifestyle in San Diego working as a sports handicapper.
The research for Casino began when Pileggi read a report from the Las Vegas Sun in about a domestic argument between Frank "Lefty" Rosenthal, a casino figure and his wife, Geri McGee, a former topless dancer.
Scorsese and Pileggi collaborated on the script lasting for a total of five months, towards the end of Some characters were combined as well as parts of the story being set in Las Vegas instead of Chicago.
A problem emerged when they were forced to refer Chicago as "back home" and use the words "adapted from a true story" instead of "based on a true story".
Filming took place in The Riviera Casino in Las Vegas to replicate the fictional Tangiers, during the night - which was once as late as 4: According to the producer Barbara De Fina , there was no point building a set if the same cost was to use a real-life one.
While the film was heavily criticized for its excessive violence, it garnered a mostly positive critical response. Casino is a Academy Award Nominated crime drama film.
Nicky Santoro, an enforcer, is sent by the mob to make sure the money is skimmed off top and other mobsters and casino are kept in line.
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Nicholas Pileggi Martin Scorsese Book: Articles needing additional references from November All articles needing additional references All articles with unsourced statements Articles with unsourced statements from July Articles with unsourced statements from January Quotes Up to date as of January 14, Directed by Martin Scorsese.
Written by Nicholas Pileggi. No matter how big a guy might be, Nicky would take him on. You beat Nicky with fists, he comes back with a bat.
You beat him with a knife, he comes back with a gun. In the casino, the cardinal rule is to keep them playing, and keep them coming back.
The longer they play, the more they lose. In the end, we get it all. Nicky Santoro I think in all fairness I should explain to you exactly what it is that I do.
Listen to me, Anthony. Peek-a-boo, you fucks you! You shit-kicking, stinky horse-manure smelling motherfucker you!
I used to send Marino back home with a piece of what I made. Not a big piece, but what did they know? Now, on top of everything else, I gotta make sure no one fucks around with the Golden Jew.
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Casino is a very good film. I certainly enjoyed the film. 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. 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.
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. 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.
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.
A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better. 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.
Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods. It tends to make it feel even more stretched out, as you keep anticipating that scene.
Plus, we hear why more than one celeb wants to be snowed in with Idris Elba. See our favorite Sundance moments.
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