sloopjohnb37

Yes, ahem. It has been some 36 years since I watched this monstrosity on afternoon Chicago television, but it left an indelible imprint on my psyche. It seems like one of the Maciste (Mah Chee Stay) brothers was Hercules and the other: I don't remember. They ride about Italy on horses, wearing loin cloths and getting into wrestling matches.

At one badly-dubbed point, Maciste puts his hand on his brother's should and says "Look! A tiny island." The delivery of this line was so funny I laughed till I almost got sick Not recommended for the faint of heart.

You must see this at some point. The brothers are nicely coiffed, with highly groomed beards, if I remember correctly.

These words could not have been spoken with a straight face at any time beyond early 1968, and then only under special circumstances.

I have to say, this movie is not exactly out of place with many of the cinematic offerings from the 1967-1968 timeframe, which makes its 1970 date somewhat confusing. (Compare and contrast to other grade Z films of the period: "Savage Seven", "Wild In the Streets", "The Party" and "The Penthouse", for instance). Was this made in 68 and released in 70 or was it "a very authentic look backward two years"? I have to say, that by 1970, there were no people left around who looked like this, with the eye make-up, haircuts, clothing etc.

Pop culture was mutating rapidly during this time period, with every year equating to 5, in "normal" times. The jargon used in this film had an original shelf-life of about 8 months, after which, its use was self-parody.

The music could only have been marginally acceptable in 1968 or prior, for example. The zest with which people indulge also places it in this timeframe, rather than later. However, why quibble?

Certainly, this movie defies analysis on many levels. It is confusing, abnormal, crazy, excessive and fun to watch. It seems to work on the brain-damaged level of "Showgirls". What were they thinking? Its impossible to work out. Maybe Ebert could shed some light on this?

I'm totally confused but somehow happy with this movie. Its a real, though totally unreliable time capsule.

Stylish, noirish, "reality" movie is a blunt rush of cinematography that makes you giddy. Beyond the genius adaptation of Nick Pileggi's tell-all, "True Crime" book, you have enormous performances by almost everyone in the film. Ray Liotta is off the chart as Henry Hill, Pesci is extremely disturbing as Tommy, DeNiro is insanely good as Jimmy, Paul Sorvino was never better and Lorraine Bracco's turn as Karen sends the whole project into overdrive. The small things, like Tommy's mother's paintings and the crew's discussion of the boat painting bring a demented light to the movie which frankly has not been attained in any other movie. Improves with frequent viewing.