Casino Movie Wo kann man diesen Film schauen?
In der glanzvollsten Ära von Las Vegas steigt der Profizocker Sam `Ace' Rothstein an die Spitze des Milliarden-Dollar-Imperiums auf. Um das Investment weiter auszubauen, stellen ihm die Drahtzieher seinen besten Freund aus alten Zeiten, den. Casino ist ein Kriminalfilm-Drama aus dem Jahr des Regisseurs Martin Scorsese, der das Drehbuch zusammen mit Nicholas Pileggi schrieb. Dessen. Anfang der 70er-Jahre leitet Sam Rothstein (Robert De Niro) für die Mafia eines der lukrativsten Casinos von Las Vegas. Der Erfolg macht ihn scheinbar. Casino ein Film von Martin Scorsese mit Robert De Niro, Sharon Stone. Inhaltsangabe: Las Vegas hat zwei Gesichter: das eine ist glamourös, das andere ist. Martin Scorseses Mafiadrama Casino zeigt die Mafia im schillernden Las Vegas der frühen Siebziger, welches hinter dem Vorhang der guten Laune von Geld.
Casino „Casino“ // Deutschland-Start: eines Mafia-Syndikats, zum Leiter des Tangiers, eines Casinos in Las Vegas gemacht. Casino ein Film von Martin Scorsese mit Robert De Niro, Sharon Stone. Inhaltsangabe: Las Vegas hat zwei Gesichter: das eine ist glamourös, das andere ist. Casino Film - Kritik Martin Scorseses Abgesang auf den trügerischen Glanz von Las Vegas ist nach wie vor ein großartiges Erlebnis für die Sinne.
Casino Movie - NavigationsmenüThe Irishman hängt inzwischen aber bereits seit Jahren in der Entwicklungshölle fest und manch einer behauptet, das Filmprojekt wäre im Grunde gestorben. Bilder anzeigen. Die hinter virtuosen filmischen Einfällen verborgene unmelodramatische Genauigkeit dieses Porträts verweigert sich rein emotionalem Zugang und macht den Film für das Publikum schwerer konsumierbar. Hinter der prächtigen, bunten Kulisse befindet sich jener im Film dreimal eingefangene, im nüchternen Neonlicht gehaltene Raum, in welchem das Geld gezählt wird. Da sich Nickys Bande an keine Regeln hält — er selbst spielt ganz offen falsch in den Kasinos —, wird er bald im Black Book eingetragen und damit mit einem generellen Zutrittsverbot für alle Kasinos in Las Vegas belegt. Scorsese wusste, dass sein Film Gefahr lief, in vielen Ländern verboten oder stark zensiert zu werden.
Joseph Rigano as Vincent Borelli. Gene Ruffini as Vinny Forlano. Dominick Grieco as Americo Capelli. Richard Amalfitano as Casino Executive.
Richard F. Strafella as Casino Executive. Casper Molee as Counter. David Leavitt as Counter. Peter Conti as Arthur Capp. Steve Vignari as Beeper.
Rick Crachy as Chastised Dealer. Larry E. Nadler as Lucky Larry. Paul Herman as Gambler in Phone Booth.
Salvatore Petrillo as Old Man Capo. Joey de Pinto as Stabbed Gambler. Heidi Keller as Blonde at Bar. Millicent Sheridan as Senator's Hooker.
Nobu Matsuhisa as Ichikawa. Toru Nagai as Ichikawa's Associate. Barbara Spanjers as Ticket Agent. Dom Angelo as Craps Dealer.
Dean Casper as Elderly Man. Joe Molinaro as Shift Manager. Bret McCormick as Bernie Blue. Ali Pirouzkar as High Roller.
Frankie Jay Allison as Craps Dealer. Clem Caserta as Sal Fusco. Jed Mills as Jack Hardy. Jeff Scott Anderson as Parking Valet. Cameron Milzer as Secretary.
Jennifer M. Abbott as Cashier. Frank Washko Jr. Richard Riehle as Charlie Clark. Christian A. Azzinaro as Little Nicky age 7. Linda Perri as Ace's Secretary.
Eric Randall as Reporter at Airport. Robert C. Tetzlaff as Customs Agent. Anthony Russell as Bookie. Brian Reddy as Board Investigator.
Roy Conrad as Board Investigator. Carol Wilson as Classroom Nun. Andy Jarrell as Commissioner Bales. Joe Lacoco as Detective Bob Johnson.
John Manca as Wiseguy Eddy. Tyde Kierney as Contol Board Member. Ronald Maccone as Wiseguy Jerry. Sasha Semenoff as Orchestra Leader.
Mitch Kolpan as Detective. Buck Stephens as Credit Clerk. Joseph Reidy as Winner. Joe La Due as Signaller.
Carl Ciarfalio as Tony Dogs. Fred Smith as Security Guard. Jack Orend as Baker. Sonny D'Angelo as Security Guard. Greg Anderson as Security Guard.
David Varriale as Flirting Executive. Stuart Nisbet as LA Banker. Frank Adonis as Rocky. Joseph Bono as Moosh.
Craig Vincent as Cowboy. Daniel P. Conte as Doctor Dan. Paul Dottore as Slim. Richard T. David Rose as David. Jonathan Kraft as Jonathan.
January 25, Rating: B- Full Review…. January 25, Full Review…. March 31, Full Review…. October 15, Full Review….
August 16, Full Review…. July 1, Rating: 3. April 26, Rating: C Full Review…. View All Critic Reviews Jun 22, This cast is perfectly assembled.
DeNiro, Stone, and Pesci play their parts perfectly. The script, taken from the screenwriter's book, is amazing and illustrates perfectly the cut-throat business of mafia infiltration into Las Vegas casinos.
This movie is one of the best films Scorsese has done and if you love mafia films, you have to add this one to your collection. Patrick W Super Reviewer.
Dec 26, Interesting, well-acted, and definitely a Scorsese classic. Maymay A Super Reviewer. Nov 14, The story follows two childhood friends who are sent to Las Vegas by the mob to oversee their casino operations, but the glitz and glamour turn the once close friends into bitter rivals.
And the writing does an impressive job at creating rich, interesting characters, and at explaining how the casino scram worked. Additionally, the set designs and costumes do an incredible job at showing the extravagance and decadency of '70s Las Vegas.
Scorsese's directing is also extraordinary; bringing life and vision to the film. A tragic tale of ambition gone awry, Casino is a compelling film that's exceptionally well-crafted.
Dann M Super Reviewer. Aug 07, Directors C Super Reviewer. See all Audience reviews. Nicky Santoro: You put my fuckin' money to sleep.
You go get my money or I'll put your fuckin' brain to sleep! Nicky Santoro: For instance, I'll wake up tomorrow morning nice and early ill take a walk over to the bank, walk in and see ya and uh..
Nicky Santoro: For instance, I'll wake up tomorrow morning nice and early ill take a walk over to the bank, walk in and see ya and uh, if you don't have my money for me I'll crack your fucking head wide open in front of everybody in the bank.
Nicky Santoro: Peek-a-boo, you fucks, you! Nicky Santoro: [voice-over] For two days and two fuckin' nights, we beat the shit out of this guy.
I mean, we even stuck ice-picks in his balls. Nicky Santoro: For two days and two fuckin' nights, we beat the shit out of this guy.
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An 8 out of 10 may seem high, but if you're familiar with my reviews, you'll know that it's not that high of a score from me--it's closer to average from me.
There are plenty of flaws here, and I'm going to spend some time pointing them out, particularly since the film receives so many 10's.
The hotel became the Tangiers for the film. The mob backs Rothstein but has to set up a false front while Rothstein "secretly" runs the hotel, because of his gambling charges back East.
Meanwhile, mob strong-arm Nicky Santoro Pesci heads out to Vegas to protect Rothstein, but eventually ends up running his own rackets and trying to effectively take over the town.
Casino is the story of the relationship and political problems that this cast of characters and a number of associates run into.
It's roughly a gradual road to destruction for everyone involved. The film is unusual in many ways. The most prominent oddity is that a large chunk of it is told via alternated narration from the two main characters, Rothstein and Santoro.
The aim was probably to include a lot more of Pileggi's book, in a more literal way, than would have been possible through more conventional means.
It's remarkable that the narration works as well as it does, especially because a lot of it is given a rapid-fire delivery.
For at least the first 15 minutes, there is barely a pause in the narrational dialogue. One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening.
He employs a lot of fast cuts while presenting very stylized, documentary-like footage. The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.
This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.
This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.
That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy. All the material is necessary to the story, but it could have been tightened up a lot more.
While I like the songs--I've owned the CD since it came out and I listen to it often enough--and the songs can help set the mood for some scenes, they become a bit too incessant and overbearing for the story after awhile.
It begins to approach the dreaded "mix tape" mentality, where the songs are just there because the director wanted to share some bitchin' tunes that he likes a lot.
A bit of ebb and flow with the music, and music better correlated to the drama, would have worked even better.
Presumably, Scorsese was shooting for something like a sensory assault, since that's what you get in Vegas. The visuals are filled with neon lights, flashy clothes I love Rothstein's suits , flashy people and such.
The soundtrack is probably meant to match. But in that case, if I were directing, I think I would have went for a combination of commissioned music that incorporated a lot of casino sounds, or that mimicked a lot of casino sounds--the cacophonous electronic symphony of various machines constantly going through their modes--with schmaltzy show tunes, ala Liza, Jerry Vale, Tom Jones, Wayne Newton, etc.
That Scorsese was trying to give a Vegas-styled sensory assault is also supported by the audio-visual contrast between the Vegas scenes and the scenes in other locations, such as Kansas City.
So I can understand the motivation, but I'm not sure the final result exactly worked. Of course the performances are exceptional, even if everyone is playing to type, except for maybe Woods.
The plot and characters are written and performed so that the viewer can see the disasters coming way before the characters can--and that's how it should be.
For example, as a viewer, you know as soon as it starts that it's a bad idea for Rothstein to kowtow to McKenna to win her hand in marriage, but Rothstein is blind in love and he ends up paying for it.
Everything unfolds almost a bit predictably in this respect, and another slight flaw is that we're shown the penultimate moment of the film right at the very beginning.
It tends to make it feel even more stretched out, as you keep anticipating that scene. But the slight flaws shouldn't stop anyone from seeing this film, and of course, quite a few viewers feel that there are no flaws at all.
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User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A tale of greed, deception, money, power, and murder occur between two best friends: a mafia enforcer and a casino executive, compete against each other over a gambling empire, and over a fast living and fast loving socialite.
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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.
Pat Webb Dick Smothers Senator Frank Vincent Frank Marino John Bloom Don Ward Pasquale Cajano Remo Gaggi Melissa Prophet Jennifer Santoro Bill AllisonDer Film handelt von Aufstieg und Fall des Gangsters Sam "Ace" Rothstein (De Niro), der auf der Figur des echten Gangsters, Frank "Lefty" Rosenthal, basiert. Das. Casino: Drama/Thriller/Kriminalfilm/Gangsterfilm/Mafiafilm von Barbara De Fina mit Frank Vincent/Don Rickles/Sharon Stone. Jetzt im. Casino „Casino“ // Deutschland-Start: eines Mafia-Syndikats, zum Leiter des Tangiers, eines Casinos in Las Vegas gemacht. Casino Film - Kritik Martin Scorseses Abgesang auf den trügerischen Glanz von Las Vegas ist nach wie vor ein großartiges Erlebnis für die Sinne. Casino () ist einer dieser Filme, die man unbedingt gesehen haben muss. Es ist ein Meisterwerk, das niemand wiederholen kann, selbst nicht der große.