bkoganbing Although both Raf Vallone and Joseph Bologna register well as father&son Mafia duo of Joe and Bill Bonanno and the source of this film is Gay Talese's account of Bill Bonanno's life up to that point, it does not really tell the story certainly from the point of view of those trying to bring them down. Read the Wikipedia article on the Bonannos. There was a certain resentment of the son by some of the close associates of Joe Bonanno of the nepotism there. And Bill Bonanno was hardly the reluctant don himself.Interesting this came out in 1973 between the release of both Godfather films. The 70s because of the great popularity of The Godfather in both book and film there was a glut of these on the market. It seemed for awhile back then that every other film was a gangster story.I liked what Brenda Vaccaro did with her portrayal of Rosalie Profaci Bonanno, wife of Joseph Bologna. Back in the day this was considered the great Mafia marriage, in their world like Charles and Diana. But Diana had more free will than Rosalie did. As a dutiful Mafia wife who grew up in that world she certainly knew never to ask questions about her husband's business.Also note Richard Castellano in a portrayal similar to what he did as Clemenza in The Godfather.This is the Bonanno version of their internal wars within their crime family. But the Corleones prove more interesting.

Major Woody I last saw this flick in the 70's, after having read the book it was based on. It didn't take long into the film to realize why it is not on many lists of great ( or good, or for that matter, even fair) gangster flicks. Joe Bologna as Bill Bonnano, Joe's son, is such a whiny character that is hard to see why anyone would pick him to lead a crime family, even if he is the boss' son. Not only is he constantly whining, he also doesn't have a clue as to what anyone is up to. Castellano basically reprises his role as Clemenza from the GF, although he does add hacking out his lungs to show a bit of difference in the two characters. Early in the film, when Joe Bonanno is hiding out to avoid subpoenas, he is shown staying in about the cheapest, flea bag motel that they could find ( which must have been all they could afford on the budget they had for this film). To think that a boss of one of NYC's 5 families would stay at some $20 a night dump is beyond comprehension, although he does manage to stay nattily attired in full suit while sitting in the room. Other discrepancies involve cars that don't fit the time frame, hair styles from the 70's being used in the early 60's, and other inappropriate mix-ups. The most idiotic part is the attempted hit on Bill, when the street is absolutely empty of any people or traffic ( in NYC no less), while Bill and his entourage park quite a distance away in order to walk down the street, where numerous gunman shoot at them with never emptying revolvers from multiple locations, yet never hit anyone. The film also has the older actors talk in a weird, stilted way that somehow Hollywood screenwriters and directors think make mafioso sound wise , unlike the way real street mafioso speak.

manuel-pestalozzi I cannot recommend this movie highly enough. It is a powerful antidote against dramatized, romanticized gangster sagas like The Godfather or Goodfellas. Apparently based on actual facts, the movie is the story of a New York Mafia boss's son. He tries to help his father because he thinks it is his filial duty.There is a gang war on. Gangsters go into hiding. They are constantly in limbo. The father is in hiding. The son goes into hiding, in a different place. He is accompanied by an old, seasoned hit man - a magnificent performance by Richard S. Castellano of Godfather fame. As the two men just sit and wait - but wait for what? - in a shabby downtown apartment, the hit man passes the time reading Sartre's Being and Nothingness!There is a fine sense of the absurd throughout this movie. The son hasn't got a clue what he is supposed to do. He just stands around asking everybody: What is going on? He never finds out. (Probably a chicken stolen somewhere in Sicily a hundred years ago, he suggests). Joe Bologna gives a wonderful portrait of Salvatore Bonanno. He plays a basically good natured, normal guy who can't cope with the circumstances that direct his life. It is wonderful how Bologna always has this strained expression on his face as Salvatore Bonanno tries to listen well and to understand. He has a wife and kids, and he wants to procure a respectable family life for them. His wife is scared and angry; she does not want to put up with a bunch of snoring, farting mobsters in her living room night after night!Joe Bologna is paired with legendary italian actor Raf Vallone who plays Joe Bonanno, the father. And they really are a minor dream team! There is a model case of two people who can not communicate, although they really love each other. This is best shown in the final parting scene, when the son has to go to jail. They don't know what so say, they just stand, looking at each other. Finally the father shows the son his school report from Sicily he accidentally found while clearing out a desk. "Ninety in maths. Not bad, eh?" These are the father's cryptical final words. The son as usual doesn't know what to answer.I guess the famous TV series The Sopranos owes more to this movie than to any of Coppola's or Scorsese's pictures.

cich Considering that this was a made for TV movie without a high budget, I was impressed. What carries the movie forward is the great acting. Raf Vallone is one of the best Italian actors in Italian cinema history as any Italian film buff can attest to. He portrays Joseph Bonanno with intensity, emotion, calm demeanor, and gives a well rounded and balanced performance. Vallone must have studied how Mr. Bonanno carried himself in life. It is obvious that he was an honorable person trying to protect his family, and Vallone depicts this perfectly. As for the other actors, they are all veterans of the New York Italian American school of acting: Joseph Bologna and Richard Castellano (of GODFATHER fame) give authentic portrayals of Sal Bonanno and Frank LaBruzzo. They are just so natural and very New York. Apparently they do not even need to act....they are just being themselves. That is why this movie is so realistic and genuine. Sam Coppola (of Saturday Night Fever as Mr. Fusco) and Carmine Caridi (of Prince of the City) also give admirable performances. Overall I rate this movie at 9 out of 10. I recommend it.