The Alto Knights Review: Two DeNiros Aren't Better than One

The prevailing feeling throughout The Alto Knights‘ is that it should’ve been made 20 years ago. While mob figures like Vito Genovese and Frank Costello used to be in the public lexicon, those names have faded into the pages of history. Even Jimmy Hoffa, a man whose mysterious death was a source of tabloid fodder for years, barely registered with the public when The Irishman debuted in 2019. These are the forgotten names from a bygone era.

But Nicholas Pileggi and Barry Levinson are familiar with these names. The filmmakers have a pedigree for making classics between them (Bugsy, Goodfellas, Casino), though they’ve made none recently. Alto Knights is the sort of picture that would sell out theatres when mid-budget adult dramas dominated cineplexes, but the landscape is different now. Too many people will look at those names and go, “Who cares?” The film does try to make you care, delving into the upbringings and shared history of two big names in gangster lore. However, too much of the film feels like a replay of Martin Scorsese‘s greatest hits. The Irishman, which also touched on themes of aging and regret, makes Alto Knights look like a pale imitation. Yes, even with the presence of two-time Oscar winner Robert DeNiro in a dual role.

DeNiro plays Frank Costello and Vito Genovese, two of the most feared men in New York City. Once friends as children, the two mobsters grow distant over time and past resentments. After Lucky Luciano’s imprisonment, they’re on the shortlist to take over as head of the five families. But only one man can rule. We hear about the bond between Costello and Vito Genovese, but there’s little to illuminate the relationship. The film relies on pre-existing knowledge about these men to appreciate how bad things have gotten between them.

DeNiro adds distinguishing nuance to each mob boss. Costello favours compromise, glad-handling politicians, business people, and criminals with an easy sales pitch. On the other hand, Genovese is prone to murderous anger. That philosophy sets both men down their respective paths once Genovese flees to Italy after an indictment for another killing. Genovese’s turbulent moods secured Costello’s position as the de facto head of the Luciano family, and Vito never forgot. Fuelled by past rage, Genovese hires Vincent Gigante (Cosmo Jarvis) to kill Costello. The hitman doesn’t get the job done, though. Costello’s saved by the bullet only grazing his head. The failed assassination attempt on Costello splits the five families at the seams, sending revenge plots throughout the tri-state area.

Levinson uses direct-to-camera narration to keep the audience abreast of what’s happening. But then he’ll splice in footage from White Heat, a stylistic attempt that doesn’t work. Gangland warfare and the dissolution of a lifelong friendship are elements of a successful mob film. However, DeNiro announcing events to the camera doesn’t hit in the same way. Scattered editing pulls the audience out of the story to focus on lesser subplots. Title cards guide the events as they happen, but it too often feels like a cheap documentary instead of a film featuring one of the greatest actors of all time.

In a scene that recalls Heat, the meeting of two heavies goes cordially until Genovese accuses Costello of trying to have things both ways. You don’t get the money and the power without the risk, Genovese argues. Costello wants to bring organized crime to the mainstream, and Genovese has no interest in appearing like a Washington lobbyist. He wants to consolidate power by any means necessary. But Vito and Frank aren’t really that different. Costello and Genovese play to the crowd they’re with. To white-collar citizens, Costello tells people he’s a professional gambler. While talking to journalists, Genovese stages his New Jersey home to look like an average Joe. Neither man has the reputation that they crave from others.

Debra Messing and Kathrine Narducci perform admirably as mob wives Bobbie Costello and Anna Genovese, but there’s no meat to the parts as written. Like so many films, they’re window dressing for the scenes where Frank and Vito aren’t doing mob business. Each actress highlights the difference in their scene partners. Messing and DeNiro are comfortable with each other and radiate warmth. The ever-present threat of violence fills DeNiro and Narducci’s scenes.

There’s also one major issue with The Alto Knights: Robert DeNiro shouldn’t have played both parts. Yes, the digital trickery works when both DeNiros are onscreen. And, surely, the double-duty portrayals offer novel promotional material, but Costello and Genovese still resemble each other too much despite how different they appear in real life. Pairing DeNiro with Al Pacino, Joe Pesci, or Harvey Keitel would’ve elevated their performances. Using CGI to clone DeNiro to play Frank Costello and Vito Genovese feels like a stunt. The layers of prosthetics and makeup required to make DeNiro resemble Genovese mute his performance. Which is a shame because you can see DeNiro is inspired by playing both roles. Costello is more measured and compelling; Genovese resembles the histrionics of Al Capone in The Untouchables. You never doubt the effort and skill DeNiro displays onscreen, but it never elevates past a gimmick.

The film captures the downward spiral of the American mafia, specifically, how one rash decision destroyed an entire criminal organization. By only presenting Costello’s voiceover (that takes place after everything transpired), we already know how it ends. The history of Costello and Genovese and the collapse of the mafia is truly fascinating. One wonders why a film about it feels so placid.