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About this sample
About this sample
Words: 924 |
Pages: 2|
5 min read
Updated: 6 February, 2025
Words: 924|Pages: 2|5 min read
Updated: 6 February, 2025
Martin Scorsese's Casino (1995) isn't just a film – it's a mesmerizing journey through the neon-lit corridors of power in Las Vegas's golden age. As veteran film critic David Thomson notes, "Scorsese doesn't just direct movies; he orchestrates visual symphonies." This observation perfectly encapsulates what makes Casino a masterpiece of American cinema, weaving together the glitter of Sin City with the grit of organized crime.
The film meticulously reconstructs three pivotal decades in Las Vegas history, when the line between legitimate business and organized crime was thinner than a poker chip. Based on Nicholas Pileggi's non-fiction work Casino: Love and Honor in Las Vegas, the story follows Sam "Ace" Rothstein's rise and fall at the fictional Tangiers casino. What makes this narrative particularly compelling is its grounding in real events – the film is based on Frank "Lefty" Rosenthal's actual experiences running the Stardust, Fremont, and Hacienda casinos.
Era | Real Vegas Development | Film's Portrayal |
---|---|---|
1970s | Mob-controlled casinos | Tangiers' setup and operation |
Early 1980s | Corporate takeover begins | Growing FBI pressure |
Late 1980s | End of mob influence | Dramatic downfall |
Robert De Niro's portrayal of Sam Rothstein stands as one of cinema's most nuanced depictions of power. Unlike the straightforward gangsters we often see in crime films, Rothstein is a complex figure who straddles multiple worlds – legitimate business, organized crime, and high-stakes gambling. As film historian Peter Biskind observes, "De Niro doesn't just play Rothstein; he inhabits a man torn between his criminal associations and his genuine desire to run a legitimate enterprise."
Joe Pesci's Nicky Santoro represents the unbridled violence of the old world crashing into the new Vegas, while Sharon Stone's Ginger McKenna embodies the city's seductive and destructive potential. Their dynamic creates what critic Pauline Kael called "a triangle of doom, each character pulling the others toward their inevitable destruction."
Casino transcends the crime genre to become a document of American cultural history. The film captures several crucial transitions:
As gambling industry expert William Thompson notes, "The film captures perfectly the moment when Old Vegas died and New Vegas was born."
The Las Vegas of Casino is more than a backdrop; it's a character in its own right. Scorsese's camera treats the city with the same attention to detail as his human characters. The film shows us:
The film's technical achievements deserve special attention. Cinematographer Robert Richardson created what he calls a "hypersaturated reality," using specialized lighting techniques to capture Vegas's artificial day-for-night atmosphere. The editing by Thelma Schoonmaker masterfully weaves together multiple storylines while maintaining perfect pacing throughout the film's three-hour runtime.
Casino remains not just a great film, but an important historical document. It captures a pivotal moment in American history when the old ways of doing business collided with corporate America's inexorable advance. The film's lasting influence can be seen in everything from modern crime dramas to documentaries about Las Vegas.
As Martin Scorsese himself reflected in a 2019 interview, "We weren't just making a movie about Vegas – we were capturing the end of an era in American history." This perspective helps explain why Casino, nearly three decades after its release, continues to resonate with new generations of viewers who never knew the Vegas it depicts.
The film's exploration of power, corruption, and the American Dream gone wrong makes it more than just another mob movie. It's a sophisticated character study, a detailed historical recreation, and a technical masterpiece all at once. In the words of film critic Roger Ebert, "Casino is a film that manages to be both epic in scope and intimately personal – a rare achievement in American cinema."
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