Casino (1995) directed by Martin Scorsese • Reviews, film + cast
De Niro and Pesci are as one might expect on top form with Sam looking to be in control and Pesci a fine foil. Stone deservedly earned plaudits, lighting up the screen whenever she appears. De Niro is on screen for the vast majority of the film’s three hour runtime and so there is much relying on his performance and he exudes star power showing how in sync he is with Scorsese in one of this finest performances of the 1990s, remarkably coming alongside another the same year in Michael Mann’s Heat.
Casino is an epic film, the history of a world with its own morals and style, created—and eventually destroyed—by mobsters out of nothing in the desert. When it reached its apogee in the gaudy 1970s, people with tarnished reputations flocked there to remake themselves. "Las Vegas washes away your sins," says the Jewish gangster played by Robert De Niro. "It's like a morality car wash. It does for us what Lourdes does for hunchbacks and sinners." (The script is co-authored by Scorsese and Nicholas Pileggi, repeating the partnership of GoodFellas.)
With brilliant use of voice-overs by the characters to give the feel of a documentary, Scorsese shows us the inner workings of the Mob. De Niro is a cool, calculating numbers man in flashy but perfectly tailored silk suits; Joe Pesci, a volatile Italian thug who elaborately mutilates those who betray him. At the center of this insular society, Scorsese places a beautiful, Pucci clad showgirl (Sharon Stone) who strides into the bustling casinos and counting rooms piled high with cash and brings down the whole house of cards.
Casino movie review & film summary (1995)
You might have heard of the movie Casino, which came out in 1995. It might be a little old, but it is still a crime-thriller worth watching for any fans of casinos and gambling. Directed by the famous and starring the likes of Robert De Niro, Sharon Stone and Joe Pesci, it remains one of the most celebrated casino-related movies today.
The 1995 movie Casino – directed by Martin Scorsese and starring Robert De Niro, Joe Pesci and Sharon Stone – was based on a true story.
Set in the late 1970s, the characters were meant to embody Frank "Lefty" Rosenthal, Tony Spilotro and Geri McGee. Mob associate Rosenthal operated the Fremont, Stardust and Hacienda Casinos, while childhood friend and made man Spilotro oversaw skimming operations sent back to the Midwest. Rosenthal's wife McGee was a hustler with her own story who was speculated to have had an affair with Spilotro.
Greetings, Roberta!
It’s like old times hearing from you! I just had a discussion with a friend just this morning who'd read my post and was intrigued about watching CASINO. Be he feels very the same as you about screen violence.
He asked if I would recommend it, and initially, I thought, "Yes" because when I think of CASINO, I think primarily of the relationships. But then I gave it a thought and reconsidered.
What you wrote is very accurate. Scorsese DOES have a gift for humanizing his characters (even the ones we don't like) and getting us to care about the dramatic/emotional stakes of the story. When violence erupts, particularly if it's graphic, it can be very disturbing.
Scorsese is a director I trust, so I'm strangely able to deal with the violence in his movies (that doesn't mean I don't have my hands in front of my eyes at times). But there are some directors I find to be irresponsible, who don't understand (or care) about the "weight" of images on the psyche, and so I avoid their films specifically for the violence.
Because Bruce feels much the same way, I've come to see resistance to movie violence in a person as a very admirabl, if not enviable, trait. One you shouldn't try to lose or be talked out of. To be able to CARE that strongly when watching a film is what it's all about. But such immersion has to be guarded. There are just some images you don't want in your head.
As for Sharon Stone, based on the CASINO DVD commentary track, she was as surprised as you that the film didn't lead to more meaty roles. It's somewhat baffling, given how widely praised her work in this was.
I’m not sure where I developed my fondness for long movies. I blame it on my youth when I'd effortlessly sit through double features like CHITTY CHITTY BANG BANG paired with AROUND THE WORLD IN 80 DAYS. Oh, and on the topic of movie length and violence, I’d steer clear of KILLERS OF THE FLOWER MOON if I were you.
What’s interesting in all this is that you sat through a film I was afraid to. I had a screener copy of THE ZONE OF INTEREST, and after about 20 minutes in i was afraid to continue. I thought it would be too disturbing!!
I guess we all have our levels of discomfort.
Thank you for such a food-for-thought contribution. Martin Scorsese is such a versatile filmmaker, having tackled everything from the musical to the period drama, so it’s possible to be a fan of one kind of Scorsese – like the one who made ALICE DOESN’T LIVE HERE ANYMORE and HUGO, while finding the TAXI DRIVER Scorsese just as gifted a filmmaker, but for that very reason, not as easy to take.
Hope you’re enjoying your Superbowl Sunday, and thanks again, Roberta, for reading my post and adding to this comment community. XOXO
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In his most recent four films, Scorsese has shown the ability to take a mediocre actress and cull an impressive performance from her. In , it was Lorraine Bracco. In , Juliette Lewis. In , Michelle Pfeiffer (arguably the best of the bunch). And now, in , it's Sharon Stone, whose resume () is enough to make any serious movie-goer wince. Surprisingly, however, she's fine -- not Oscar material, but strong enough not to drag down the film. Stone doesn't stick out like a sore thumb, and, based on Scorsese's track record, a lion's share of the credit for this should be given to him.
It gives the film some of its best lines
But just how much of the movie Casino was based on real life events? As with most movies that are based on a true story, there are always some extra bits added in for dramatic effect, or some parts that get changed – and Casino is no exception.
Casino | Reelviews Movie Reviews
What’s even interesting, the film is based on the true story of Frank Lefty Rosenthal (acted by Robert De Niro) and his mobster best friend Tony Spilotro (acted by Joe Pesci).
· In Vegas, everybodys gotta watch everybody else
Hi Ken,
Casino is a Scorsese movie I've only seen once or twice. I should give it another shot (pun not intended); there is one scene (concerning baseball bats) that just might be the most brutal violence I've ever seen in a film. It makes the violence in Goodfellas (my choice for Scorsese's best) seem like playground fights!
Aside from Goodfellas, my favorite Marty movies are After Hours, Mean Streets, Shutter Island, The King of Comedy, The Irishman, Silence, the first hour of Gangs of New York and the first half of Cape Fear. I fluctuate on Taxi Driver. I admire and respect Raging Bull more than having an enthusiasm to rewatch it. I detest The Wolf of Wall Street. And, =gulp=, I quite like his "Life Lessons" segment of New York Stories which you label dreadful. After Hours is very dear to me and Life Lessons has a similar NY/Bohemian atmosphere. (And Rosanna Arquette!)
Scorsese is generally a good director, but for the most part comes off as too Hollywood rather than a great director. I'll probably be stripped of my "cineaste" badge, but, despite, his many fine movies, I find his overall career a bit disappointing. (I do like his championing of the Powell and Pressburger films, and if I could ask Scorsese one question it would if he believes Ken Russell was the inheritor of their British neo-romantic style.)
I forgot Alan King is in Casino. I just rewatched him in Just Tell Me What You Want in which he's amazingly rude throughout!
Mark
Cinemark Century South Point 16 Movie Theater in Las Vegas
HA!
Hello, Neely (please forgive me if you’ve told me your name and I’ve forgotten it. As you note, it’s been a while).
To that subject, I can’t tell you how encouragin’ it is (said in Ruth Gordon’s voice) to know you check out my site regularly. Weekly, yet! I was growing tired of Mr. Back to the Beach, as well. So, thanks for letting me know SOMEONE is out there and aware when I’m MIA.
It’s also encouraging that this essay might inspire you to check out CASINO. One of the most consistent criticisms levied at CASINO is that it is, indeed, a retread of GOODFELLAS, but I’ve always thought it a hollow observation given the similarities of most Mob movies. Both are Scorsese at his best, but only CASINO has Sharon Stone, and that’s like having the Golden Ticket.
I applaud your plan to seek shelter from that ball event monopolizing the airwaves today, and I got a good laugh (because I identified) from your stated reason for not caring for sports, war, and western films. And I can’t really deal with Drag Race either…at least not since the drag aesthetic has been co-opted by Home Shopping Network and most of the newscasters and weather reporters in LA.
My partner is interested in seeing Killers of the Flower Moon (which I loved), so maybe we’ll be settling in for 3 ½ hours of Scorsese ourselves, this evening.
You made my day with your complimentary and very funny comments, Neely. I thank you so much for sticking around and having faith that I hadn’t forgotten my Blogger password or something.
Hope you enjoy CASINO!
Casino streaming: where to watch movie online
With Goodfellas (1990) and Casino (1995), the 1990s saw produce two of his finest, most anxiety-riddled pieces of work and also saw a return to his best form after he had turned to different genres and themes in the preceding decade. Goodfellas is a scintillating and richly detailed crime film based on the true story of mob associate turned informant Henry Hill. It is seen by many as Scorsese’s best work and one of the greatest gangster films ever made, and that is hard to disagree with. Scorsese’s next crime epic Casino, which was released five years later in 1995, is almost inevitably overlooked when considering his filmography, but it deserves the increasing critical profile it has gotten in the 26 years since. It is an epic in every sense of the word, clocking in just shy of three hours with a 178-minute runtime, and gives us some of the best and most elaborate characters and stories Scorsese has ever put to screen.