- Jerry Vale, the enduringly popular crooner from the 1950s and 1960s, died May 18 at 83. (1990) and “Casino” (1995); he made cameo appearances in the last two. He was the subject of the.
- Vale’s renditions of Italian love songs clearly struck a chord with director Martin Scorsese, who used his recording of “Pretend You Don’t See Me” in Good Fellas (1990) and “Love Me the Way I Love You” in Casino (1995). Vale appeared in both films and the HBO series The Sopranos.
- Casino (1995) / Drama-Thriller. MPAA rated: R for strong brutal violence, pervasive strong language, drug use and some sexuality Length: 170 min. Cast: Robert De Niro, Sharon Stone, Joe Pesci, James Woods, Don Rickles, Alan King, Kevin Pollak, Dick Smothers, L.Q. Jones, Frank Vincent Small role: Frankie Avalon, Steve Allen, Jayne Meadows, Jerry Vale.
- GoodFellas 1990. Previous Films More Films. See Jerry Vale’s Full Filmography. This page is age restricted. Not so fast, my friend. We need to check your ID. This section contains mature content and you need to be at least 17 years old. Yes, I'm over 17.
Casino In fascinating detail and with dazzling finesse, 'Casino' lays out how the mob controlled and ultimately lost Las Vegas. Martin Scorsese's intimate epic about money, sex and brute force is.
Martin Scorsese's Casino knows a lot about the Mafia's relationship with Las Vegas. It's based on a book by Nicholas Pileggi, who had full access to a man who once ran four casinos for the mob, and whose true story inspires the plot of the movie. Like The Godfather it makes us feel like eavesdroppers in a secret place. The movie opens with a car bombing, and the figure of Sam (Ace) Rothstein floating through the air. The movie explains how such a thing came to happen to him.
The first hour plays like a documentary; there's a narration, by Rothstein (Robert De Niro) and others, explaining how the mob skimmed millions out of the casinos. It's an interesting process. Assuming you could steal 25 percent of the slot machine take—what would you do with tons of coins? How would you convert them into bills that could be stuffed into the weekly suitcase for delivery to the mob in Kansas City? Casino knows. It also knows how to skim from the other games, and from food service and the gift shops. And it knows about how casinos don't like to be stolen from. There's an incident where a man is cheating at blackjack, and a couple of security guys sidle up to him, and jab him with a stun gun. He collapses, the security guys call for medical attention, and hurry him away to a little room where they pound on his fingers with a mallet and he agrees that he made a very bad mistake.
Rothstein, based on the real-life figure of Frank (Lefty) Rosenthal, starts life as a sports odds maker in Chicago, attracts the attention of the mob because of his genius with numbers, and is assigned to run casinos because he looks like an efficient businessman who will encourage the Vegas goose to continue laying its golden eggs. He is a man who detests unnecessary trouble. One day, however, trouble finds him, in the person of Ginger McKenna (Sharon Stone), a high-priced call girl. Scorsese shows him seeing Ginger on a TV security monitor, and falling so instantly in love that the image becomes a freeze-frame. Ace showers her with gifts, which she is happy to have, but when he wants to marry her she objects; she's been with a pimp named Lester Diamond (James Woods) since she was a kid, and she doesn't want to give up her profession. Rothstein will make her an offer she can't refuse: Cars, diamonds, furs, a home with a pool, and the key to his safety-deposit box. She marries him. It is Ace's first mistake.
Another mistake was to ever meet Nicky Santoro (Joe Pesci) when they were both kids in Chicago. Nicky is a thief and a killer, who comes to Vegas, forms a crew, and throws his weight around. After he squeezes one guy's head in a vise, the word goes out that he's the mob's enforcer. Not true, but people believe it, and soon Nicky's name is being linked with his old pal Ace in all the newspapers.
Scorsese tells his story with the energy and pacing he's famous for, and with a wealth of little details that feel just right. Not only the details of tacky 1970s period decor, but little moments like when Ace orders the casino cooks to put 'exactly the same amount of blueberries in every muffin.' Or when airborne feds are circling a golf course while spying on the hoods, and their plane runs out of gas, and they have to make an emergency landing right on the green. And when crucial evidence is obtained because a low-level hood kept a record of his expenses. And when Ace hosts a weekly show on local TV—and reveals a talent for juggling.
Meanwhile, Ginger starts drinking, and Ace is worried about their kid, and they start having public fights, and she turns to Nicky for advice that soon becomes consolation, and when Ace finds out she may be fooling around he utters a line that, in its way, is perfect: 'I just hope it's not somebody who I think it might be.' 'It was,' the narration tells us, 'the last time street guys would ever be given such an opportunity.' All the mob had to do was take care of business. But when Ace met Ginger and when Nicky came to town, the pieces were in place for the Mob to become the biggest loser in Vegas history. 'We screwed up good, ' Nicky says, not using exactly those words.
Scorsese gets the feel, the mood, almost the smell of the city just right; De Niro and Pesci inhabit their roles with unconscious assurance, Sharon Stone's call girl is her best performance, and the supporting cast includes people like Don Rickles, whose very presence evokes an era (his job is to stand impassively beside the boss and look very sad about what might happen to whomever the boss is talking). Unlike his other Mafia movies (Mean Streets, 1973 and Goodfellas, 1990), Scorsese's Casino is as concerned with history as with plot and character. The city of Las Vegas is his subject, and he shows how it permitted people like Ace, Ginger and Nicky to flourish, and then spit them out, because the Vegas machine is too profitable and powerful to allow anyone to slow its operation.
When the Mafia, using funds from the Teamster's Union, was ejected in the late 1970s, the 1980s ushered in a new source of financing: Junk bonds. 'The big corporations took over,' the narration observes, almost sadly. 'Today, it works like Disneyland.' In a closing shot of the new, family-oriented casinos in the corporate Las Vegas, the families who have replaced the colorful characters of an earlier generation look like the suburban zombies over-running a mall in George Romero's Night of the Living Dead (1968) and its sequl, Dawn of the Dead (1979).
Robert De Niro, Sam (Ace) Rothstein
Sharon Stone, Ginger McKenna
Joe Pesci, Nicky Santoro
James Woods, Lester Diamond
Don Rickles Billy, Sherbert
Alan King, Andy Stone
Kevin Pollak, Phillip Green
L.Q. Jones, Pat Webb
Dick Smothers, Frank Vincent
Melissa Prophet, Jennifer Santoro
Bill Allison, John Nance
Vinny Vella, Artie Piscano
Jerry Vale Songs
Oscar Goodman, Himself
Catherine Scorsese (Marty's Mom),Piscano's Mother
Frankie Avalon, Himself
2715 casiano road bel air. Steve Allen, Himself
Jayne Meadows, Herself
Jerry Vale, Himself
Producer, Barbara De Fina
Associate Producer, Joseph Reidy
Director, Martin Scorsese
Screenwriters, Nicholas Pileggi and Martin Scorsese (based on the book by Nicholas Pileggi)
Cinematographer, Robert Richardson
Editor, Thelma Schoonmaker
Composers, Too Many to list here. Check the film's web sites.
Youtube Jerry Vale
After viewing Casino, you may never look at Las Vegas in quite the same way. While this film, adapted from Nicholas Pileggi's nonfiction book, Casino: Love and Honor in Las Vegas, doesn't offer much in the way of startling revelations, it presents a fascinating insider's perspective of what goes on behind-the-scenes in the country's gambling mecca. As is stated several times, Vegas isn't about fun, glitz, or glamour. Those things are just the surface gloss. Instead, it's all about greed and money -- bringing customers in, keeping them playing, and sucking them dry.
Casino opens with short sequence in 1983 before moving on to the meat of the story, which is related through flashbacks. Director Martin Scorsese makes heavy use of voiceovers, employing disembodied monologues by both lead actors -- Robert De Niro and Joe Pesci -- to fill in gaps. The sheer volume of words sporadically detracts from character development, but it is integrated successfully enough not to seem overly intrusive. While the intelligence and wit of the voiceovers makes them palatable, such nonstop talking isn't always the best way to convey a story -- the temptation to tell something, rather than show it, is too great. Casino doesn't always avoid that trap.
In every way -- from the fantastic sets, rich dialogue, and unapologetic violence to the well-portrayed characters and themes of loyalty and betrayal -- Casino is pure Scorsese. Although not the director's top work, this is nevertheless compelling film making. Scorsese has never pulled punches in breathing life into his ideas, and he doesn't start here. If there's an obvious weakness in Casino, it's that it occasionally seems derivative of Goodfellas.
During its three-hour running time, Casino tells the story of two men's intermingled lives. 'Back home years ago' (as an on-screen caption reads), they were friends and co-workers. Sam 'Ace' Rothstein (Robert De Niro, in his eighth acting collaboration with Scorsese) was a gambler who never lost. He researched all his bets carefully, and rarely made a bad pick. His winning tendencies gained him popularity and favor with the local mob, who used Nicky Santoro (Joe Pesci) to shadow and protect him. Now that Ace has moved to Vegas to manage the Tangiers Casino, Nicky isn't far behind. And, while the two gravitate to opposite sides of the law, with Ace keeping his fingers clean and Nicky taking over the local crime scene, their paths continue to cross, and their encounters become increasingly less friendly. Stirred into the mix is Ace's girlfriend, Ginger (Sharon Stone), an expert hustler who attracts men like flies. Although she agrees to marry Ace, she continues a liaison with her former pimp (James Woods) while encouraging Nicky's affections.
As usual, Scorsese obtains excellent performances from his leads. Joe Pesci, essentially reprising his Goodfellas performance, will probably get all the attention, since this sort of flamboyance attracts raves. Actually, though, it's De Niro's more subtle, better-contained acting that's riveting. Casino is supposed to focus on both Ace and Nicky, but, despite nearly equal screen time for each, our sympathy is drawn towards the former. For this, De Niro's portrayal shares equal responsibility with the screenplay.
In his most recent four films, Scorsese has shown the ability to take a mediocre actress and cull an impressive performance from her. In Goodfellas, it was Lorraine Bracco. In Cape Fear, Juliette Lewis. In The Age of Innocence, Michelle Pfeiffer (arguably the best of the bunch). And now, in Casino, it's Sharon Stone, whose resume (Basic Instinct, Sliver, The Specialist) 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.
Supporting players include a restrained James Woods, comedian Don Rickles in a serious role, Alan King (also playing it straight), and Kevin Pollak. Scorsese's mother has a brief (and very funny) appearance as the no-nonsense parent of a bumbling, small-time gangster. And faces associated with Vegas, like Steve Allen, Frankie Avalon, Jayne Meadows, and Jerry Vale, have cameos.
Casino was filmed in Las Vegas, and this shows in the splashiness and energy of nearly every scene. By using gaudy costumes and a 70's soundtrack, Scorsese takes us back some two decades. Starting with the vivid opening credits (designed by Elaine and Saul Bass, whose amazing work on The Age of Innocence was one of that film's highlights), Casino sparkles like its fake diamond of a host city. The cinematography, which uses surprisingly few tricks other than freeze-framing to emphasize key moments, is crisp and clean.
By now, audiences have come to expect forceful films from Martin Scorsese. With Casino, he doesn't disappoint. The movie is long, but, with a fast-moving storyline, escalating tension, and surprisingly robust humor, the three hours move quickly. Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas), but, in this relatively-bland Thanksgiving movie season, this is one of the few entries worth making an effort to see.
Casino (United States, 1995)
Cast:Robert De Niro, Joe Pesci, Sharon Stone, Don Rickles, James Woods, Alan King, Kevin Pollak, Frank Vincent, L. Q. Jones
Screenplay: Nicholas Pileggi & Martin Scorsese based on the book by Nicholas Pileggi
Cinematography: Robert Richardson
U.S. Distributor: Universal Pictures
U.S. Release Date: 1995-11-22
MPAA Rating: 'R' (Profanity, Violence, Sexual Situations, Drugs)
Theatrical Aspect Ratio: 2.35:1
Casino 1995 Jerry Vale
Casino 1995 Jerry Valentine
- (There are no more worst movies of Joe Pesci)