Word: mafiosos
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Dates: during 1990-1990
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...first Michael is pleased to have his crimson career behind him. When Vincent Mancini (Andy Garcia), the bastard son of Michael's brother Sonny, shows up ready to bite the ear off any idle Mafioso, Michael tells him, "I don't need tough guys. I need more lawyers." But in his negotiations with a crafty padrone (Eli Wallach), with a gaudy capo (Joe Mantegna), even with some slippery Vatican officials over a European real estate deal, Michael decides he needs tough guys. The question is: Can he still be tough enough to lead them...
...left their ethics at the baptismal font. Even as a kid, Henry Hill (Ray Liotta) was crazy about the gangster life. He connives in murder one, runs a cocaine cartel, robs decent folks blind -- and, when he is caught, shrugs off all remorse. His patron is a stately Mafioso (Paul Sorvino) who warns him to stay out of the drug business; Henry jumps right in. His best friend is a wacko hoodlum (Joe Pesci) who gets whacked by his own family; Henry sheds no tears. His mentor is an Irishman (Robert De Niro) who cuts Henry in on the biggest...
...dark recesses of an Italian "social club" in lower Manhattan, Carmine Sabatini (Marlon Brando), an elderly mafioso, peers across a small table at Clark Kellogg (Matthew Broderick), a rosy-faced NYU film student fresh from Vermont. Sabatini orders Kellogg some Italian coffee and proceeds to pour four or five heaping spoonfuls of sugar into the small demitasse. The taste of the stuff is enough to make Kellogg grimace...
...possessions by Victor Ray (Bruno Kirby). Kellogg meets up with Ray again and in order to make up for his past wrongs, offers him a job working for his uncle, Carmine Sabatini, a prominent importer with dubious business dealings. Sabatini sets Kellogg up delivering illegally imported endangedred species to mafioso gourmet chef Larry London (Maximilain Schell). Kellogg soon finds himself drawn into the Sabatini family deeper and faster than he wishes, engaged to Sabatini's daughter Tina (Penelope Ann Miller) and under federal investigation for his role in his boss's illegal dealings. What follows, of course, is plot twists...
Life imitating art? Not exactly. More like art imitating art, or artist imitating artist. For Marlon Brando is, of course, the man in the mafioso mask in both instances. It might perhaps be said the makeup man was kinder in aging him for the earlier role than the past 18 years have been in bringing him to his present hefty appearance. On the other hand, The Freshman is a comedy, and his roly-poly form and cherubic countenance defuse his menace and suit his self-satirizing purposes...