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Goodfellas (25th Anniversary Edition) [Blu-ray]
Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Watch Instantly with | Rent | Buy |
GoodFellas | — | — |
Genre | Drama, Documentary/Biography, Mystery & Suspense/Crime |
Format | Blu-ray |
Contributor | Various |
Language | English |
Runtime | 2 hours and 25 minutes |
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Product Description
Goodfellas 25th Anniversary (BD Book Collection) Martin Scorsese’s unforgettable film of Nicholas Pileggi’s true-crime best seller Wiseguy is presented here in a stunning new remaster from a 4k scan of the original camera negative, supervised by Martin Scorsese. Arresting performances from an all-star cast led by Ray Liotta, Robert De Niro and Lorraine Bracco drive this brutal yet darkly funny narrative of life in the mob. Nominated for six Oscars®, with a win for Joe Pesci*, and named one of the AFI’s top 100 American movies, this instant classic would forever change the rules for gangster films to come.
Product details
- Aspect Ratio : 1.85:1
- Is Discontinued By Manufacturer : No
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 8.32 ounces
- Item model number : 1000529318
- Director : Various
- Media Format : Blu-ray
- Run time : 2 hours and 25 minutes
- Release date : May 5, 2015
- Actors : Various
- Studio : WarnerBrothers
- ASIN : B00SM3GSQC
- Number of discs : 2
- Best Sellers Rank: #49,694 in Movies & TV (See Top 100 in Movies & TV)
- #4,036 in Drama Blu-ray Discs
- Customer Reviews:
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𝑾𝒆 𝒂𝒍𝒘𝒂𝒚𝒔 𝒄𝒂𝒍𝒍𝒆𝒅 𝒆𝒂𝒄𝒉 𝒐𝒕𝒉𝒆𝒓 𝒈𝒐𝒐𝒅 𝒇𝒆𝒍𝒍𝒂𝒔.
Goodfellas (stylized GoodFellas) is a 1990 American biographical crime film directed by Martin Scorsese, written by Nicholas Pileggi and Scorsese, and produced by Irwin Winkler. It is a film adaptation of the 1985 nonfiction book 𝑾𝒊𝒔𝒆𝒈𝒖𝒚 by Pileggi.
Starring Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco and Paul Sorvino, the film narrates the rise and fall of mob associate Henry Hill and his friends and family from 1955 to 1980.
Written with an audience presumably unfamiliar with the mobster lifestyle in mind, ‘Goodfellas’s cinematographic aspects aim to both inundate viewers with information while simultaneously creating an elaborately informative piece of work. Characters are regularly arranged in frame so as to underline the complexity of their relationships with one another - albeit formed and maintained for deeply personal or communal reasons - with special emphasis on props (Ie: weapons or resources) that are implicative of one's control over their life or mitigating circumstances. So as to achieve a documentary-esque like appearance and tone, ‘Goodfellas’ pairs lengthy narratives with long-takes with special care taken in regards to extras (quite literally, #extras, since many of them were actual mobsters at the time of filming), the set design, and costume related direction for the sake of authenticity.
Before catching wind of 𝑾𝒊𝒔𝒆𝒈𝒖𝒚, Scorsese had originally sworn off making another gangster movie; nonetheless, over the course of 12 separate drafts, a screenplay reflecting Pileggi’s research and Scorses’s vision was eventually collaborated on. Many elements key to the film’s structure - like Liotta’s voice narration - are almost exact quotes from Hill himself. In addition to this, associates of the individuals represented were always on set when filming, and they were referred to frequently for pertinent details as they related to mannerisms, setting, tone, et cetera.
As to be expected, however, for reasons regarding cohesiveness and conciseness some liberties were taking in the way specific events and individuals are depicted. In example: during the Air France Heist tedious peculiarities (such as how the security keys for the vault needed in this context were stolen, copied, and returned after getting one of the security guards extremely inebriated) are glossed over, whereas other events pivotal to the overarching story (Such as Billy Batts murder, which was 𝒑𝒍𝒂𝒏𝒏𝒆𝒅, and not carried out impulsively) are void of complexity as a means of capturing the essence of specific characters and their capacity for influencing chaos while demanding respect from their peers.
Where ‘Goodfellas’ diverts from the truth the most is in its portrayal of Henry Hill himself. To put it bluntly - Hill's idolization and fascination with the gangster lifestyle is fairly summated, but in many ways this admiration is also exaggerated. Hill made multiple attempts to leave the mobster lifestyle behind early on (and went as far as joining the Air Force in 1960 to escape it, but was unsuccessful) , and stayed actively involved out of what is implied to have been fear for his own life. With this in mind: the representation of Hill's eventual deterioration following an ongoing stent with addiction and legal issues is on target with Liotta harnessing a heightened palpability and marketed physicality.
Perhaps unsurprisingly: elements involving Tommy's temperament and fate specifically were subject to alteration, but in this case changes were a matter of constraint and speculation. In real life Tommy had a reputation for carrying out acts of violence unpredictably and for frivolous reasons such as moments where he would kill people with the intent of simply trying out a new firearm or randomly kill passersby while walking down the street out of pure enjoyment.
Although censored, Pesci’s portrayal of Tommy was reportedly “90 -99% accurate” according to Hill; In this role he is equal parts deliberate and haphazard in ways that are unparalleled and effectively theatrical without being cartoonish or needlessly exaggerated.
Lastly - Tommy's body was never actually found in real life after his (assumed) death and his disappearance remains unsolved to this very day. There are many theories as to how his disappearance happened in the first place, and Scorsese's writing uses Billy Bate’s murder as a conveniently plausible (though not complete) point of conjecture.
Despite its indulgence in terms of effulgence, ‘Goodfellas’ succeeds as a source of fiction that is grounded and a source of fact that is managed by hysteria. Its sense for nuance and simplicity - which is shown in how confidently it leans into stereotypes without simply compartmentalizing the narrated exploits - have been instrumental in laying down the framework for gangster movies that continue to be made 30 years after its release.
In venturing as far back as Henry can remember it delivers an experience that most viewers won't forget.
But now comes the 25th anniversary edition of "GoodFellas", in which the movie has been given a 4K resolution from the original camera negative. The results? "GoodFellas" doesn't look great; it looks absolutely phenomenal! The image has a fine, naturally grain quality that gives the movie a documentary feel (which is appropriate since that was the filmmakers' intentions), there is greater detail in even the extreme long shots that weren't noticed in the previous versions (just watch Karen's wedding scene and the famous Copacabana long take in both this version and the 2007 one and the difference in quality is staggering), there are various shades of blackness and color that give the picture more depth (the burial and subsequent digging of Billy Batts, for example, looks even more detailed than before) and contrast, unbalanced in the previous version, is excellent. At long last, "GoodFellas" has come out in a presentation that would make the even stoic Paul Cicero crack a smile.
"GoodFellas" is a film that needs no explanation or even a sentence of exultation, but I'll do it anyway. It is a film that changed the way we look at gangster movies. "The Godfather", as brilliant of a film it is, was pure gangster mythology. "GoodFellas", however, went the opposite direction by depicting the life of organized crime as if it was real. These were people you could have met in the street; seemingly nice, likable people that just happen to be criminals.
Scorsese's dramatization of Henry Hill's life as a gangster shows us the seduction, the allure and ultimately the sickness and fatalistic consequences of living the life as a somebody in a world of nobodies. By revealing the skulls behind the smiles, Scorsese shows us the dark side of corruption under such facile smiles. Rarely has violence been portrayed less glamorously, with more moral effectiveness and absolute repulsion. Rather it's the brutal murder of an innocent waiter, the slaying of a made man in the trunk of a car, the strangulation of a whiny but harmless hair wig owner or the senseless murder of all involved in a heist out of fear of being caught, these are senseless killings by senseless people - the work of scared, inadequate men.
And yet, and what makes this film great, is that Scorsese makes us care for these characters. As demonic of a psychopath that Joe Pesci is, we are still shocked to see him gunned down. We sense Liotta's paranoia when he rightly feels that he is being chased around by a surveillance helicopter during his drug hubris. We feel De Niro and Sorvino's sense of betrayal when Liotta testifies in court. All this is a testament to the magnificent acting and Scorsese's flawless direction that shows us a group of human beings who become intoxicated in the glamour of gangsterism, only to be destroyed by it.
Gangster movies make us admire such vile people because they go against the norm of what society dictates, functioning like outlaws who rebel against authority and do things their own way. The triumph of Scorsese's "GoodFellas", and the horrific irony, is that as much as we don't want to admit, we want to live that lifestyle too. We want to go to airports and make off with a couple of hundred thousands of dollars without taking hostages. We want to park in front of fire hydrant and not get tickets. We want to hijack trucks and use them for personal goods. We want go to restaurants without having to wait on line. We want to beat people up and make them stop complaining. In short, we want to rule. Maybe that's why some people prefer "GoodFellas" over "The Godfather".
But is the life of a criminal worth taking? Scorsese clearly doesn't, but he shows us that criminality is a temptation for ordinary people. Lorraine Bracco's performance as the naive Karen is a perfect example of how anyone could be enticed into criminality. Karen doesn't understand the world she is getting herself into and only looks at the surface. It's only by the movie's third act when everything falls apart for her and her husband that she realizes the consequences of this deadly lifestyle.
Having watched "GoodFellas" hundreds of times, I continue to marvel at the film's superb direction, outstanding performances, rich visuals and themes, moral ambiguity and its seamless blend of horror, drama and black humor. It's a film that 25 years after its release in 1990 continues to affect me as much as it does to everyone in my generation. Most movies grow dated after numerous viewings; not "GoodFellas". Now on a spellbinding 25th anniversary Blu-Ray set that restores the film to its original form, the movie's power has been enriched. You don't know "GoodFellas" until you've watched this set. Get it now while you stand can.
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Reviewed in Mexico on January 10, 2020