Regie:
Brian De PalmaDrehbuch:
David KoeppKamera:
Stephen H. BurumMusik:
Patrick DoyleBesetzung:
Al Pacino, Sean Penn, Penelope Ann Miller, John Leguizamo, Ingrid Rogers, Luis Guzmán, James Rebhorn, Joseph Siravo, Viggo Mortensen, Adrian Pasdar (mehr)Streaming (2)
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Nach fünf Jahren wird der Killer Carlo Brigante vorzeitig aus dem Knast entlassen. Obwohl er es ernst meint, glaubt ihm niemand, daß er sich zur Ruhe setzen will. Doch das Verbrechen scheint von Carlo magnetisch angezogen zu werden. Aus Dankbarkeit steht er seinem Anwalt Kleinfeld zur Seite, als der in eine Bredouille gerät. Der hintergeht den Freund und besiegelt damit dessen Schicksal. Carlo gelingt es, die Mafiakiller abzuschütteln, doch am rettenden Zug erwartet ihn eine Überraschung. (Verleiher-Text)
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Der absolut beste Gangsterfilm, den ich je gesehen habe (und ich habe Coppola und Scorsese sorgfältig verfolgt). Ein Film, in dem es keine überflüssige Szene gibt, keine einzige Einstellung ist zum Selbstzweck und alles passt zusammen. Die Veränderung von Sean Penn ist faszinierend, alle Aufmerksamkeit zieht jedoch selbstverständlich Al Pacino auf sich. Ich behaupte, dass der Carlito Brigante seine beste Rolle ist. Tony Montana in Scarface war ein Arschloch – und trotzdem hatten alle Sympathien für ihn. Also muss es bei Carlito, der gerade aus dem Knast kommt und von der Vergangenheit nichts mehr wissen will, genauso sein. Leider gelingt diesem Puertorikaner bei weitem nicht alles so, wie er es sich wünschen würde. Brian de Palma ist hier in Höchstform, die fünfzehnminütige Bahnhofsszene zum Ende sucht in der Kinowelt ihresgleichen und alle Daumen hoch auch für die Musik von Patrick Doyle. Es reicht schon, wenn ich sie mir allein anmache, dass ich irgendwie feuchte Augen bekomme …
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One of the few gangster movies that I’ve really liked. This time the protagonist is not an insufferable arrogant criminal, but the likeable and honourable Al Pacino, someone you can root for. That’s what I miss in other similar movies and the reason why I don’t like them in general. I didn’t have this problem with Carlito’s Way and I was able to truly enjoy this good quality film. Sean Penn delivers a superb performance, I didn’t recognise him at first.
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Brian De Palma is a master of the genre. Unlike other gangster films, Carlito's Way dives straight into the action, propelling the plot at a breakneck pace. Carlito is your typical mafia man — a madman. Just as firm as his views are, so is the film's narrative. It doesn't hold back, hitting the viewer with the force of an open pressure valve. The acting is, of course, phenomenal.
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The mafia's journey from a somewhat different perspective is especially evident under the directorial baton of Brian De Palma. However, the epic narrative about "purification," which lasts for two and a half hours, ultimately ends up in complete futility. No matter how you look at it, David Koepp's screenplay would hardly be sufficient for a ninety-minute runtime on its own. Fortunately, De Palma displays a strong dose of creativity and captivates the audience with every scene down to the last detail. As a whole, it ticks away incredibly quickly, even considering that not much substantial happens in the film. The performances by the actors unabashedly strive for various accolades, especially Sean Penn, who underwent a radical transformation and brilliantly embodies the classic notion that "lawyers simply can't be trusted." I believed in Carlito, played by Al Pacino, a slowly aging gangster, until the very last drop of blood he had to shed on his journey. Perhaps I do have a minor criticism regarding the lack of a larger dose of "DePalma violence," which is compensated for by the escalator shootout, allowing everyone to go their own way.
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After a second screening, I’m giving a full rating to this great gangster flick, with De Palma in full force. While Montana was a perfectly relatable character in Scarface, you simply have to root for the old school Carlito Brigante, with his street morals, even though he was certainly no saint thanks to his drug past. De Palma's ability to tell a compelling story while captivating with his directorial ideas is evident in the first dramatic scene in the billiard room. The final fifteen minutes escalate incredibly, and the scene of the ambulance ride with the badly wounded Carlito and his gaze on the advertising poster of the "road to paradise", accompanied by a melancholic song, is beautifully sad and uplifting at the same time.
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Galerie (92)
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