![]() ![]() In Little Italy (New York), two cousins, Charlie (Mickey Rourke) and Paulie (Eric Roberts), work at the same restaurant. The Pope of Greenwich Village (1984, Stuart Rosenberg) “Bad Boys” was part of the ‘youth delinquency film wave’ of the 1980s (other titles were, for instance, “Rumble Fish”, “The Outsiders”, “Drugstore Cowboy”, “Tex”, “River’s Edge”, et al) and in the years since its release, the film has been praised for its intense and exciting rhythm, as well as its consistent performances which were quite noticeable since a great part of the cast was either ‘forgotten actors’ or virtually unknown actors for instance, Sean Penn, whose career grew only after this film that provided him with favourable reviews.ġ3. However, the plan does not go as quite as planned, leading to tragic consequences Mick’s best friend is killed and Mick is sent to a Juvenile Correctional Facility because as he tried to escape, he ran over a child who happened to be Paco’s little brother. Despite his young age, O’Brien plans an attempt on his rival’s life, Paco Moreno (Esai Morales), the leader of a rival gang. The film follows the life story of Mick O’Brien (Sean Penn), an Irish-American who retains the hope of achieving a role in the Chicago underworld. Here’s another take on the concept of gangster: “Bad Boys” (1983). ![]() It has the confidence and momentum of a movie where every shot was premeditated - and even if we know that wasn’t the case, and this was one of the most troubled productions in recent movie history, what difference does that make when the result is so entertaining?” It had its golden era during the Prohibition period (1920 – 1933) when it was a segregated facility, albeit frequented by the most notorious names in jazz music, who, for the most part were black musicians – Duke Ellington, Louis Armstrong, Chick Webb and so forth.Īnd I could babble about what I wanted here but to understand why this film is featured here, one must rely on the words of a film critic at the time of the film’s release: “After all the rumors, all the negative publicity, all the stories of fights on the set and backstage intrigue and imminent bankruptcy, Francis Ford Coppola’s ‘The Cotton Club’ is, quite simply, a wonderful movie. ![]() The Cotton Club was a real New York jazz club in the 1930s. One cannot help but claim at the end of the film – “what a time to be alive.” ![]() However, the film remains as a quite interesting project, as it is a collective of stories of people that frequent the club, either as visitors, performers, guests, or owners, providing the audience with a glimpse of the atmosphere of the rumble, frenzy and ecstasy of the time. The problematic production of “The Cotton Club” – with its complications with rights, ownership, personal conflicts, financing and so – is perhaps responsible for the film’s loss of value and respect as a piece in modern times. The Cotton Club (1984, Francis Ford Coppola) With all that being said, let’s dive into the films that shaped the remains of the gangster genre during the 1980s.ġ5. The 1980s was also the golden age of arcade video games and the growth of the industry of technology, but it was also the age of the growing conflict between mainstream cinema and indie cinema, as well as the age of great development for special effects departments and film remakes and sequels. So, naturally, the films featured in this list, also including the honourable mentions, were among the most popular, influential, and original from a period in American cinema that is known for the establishment of the blockbuster culture (which had started late in the 1970s), for the exploration of ‘yuppies’ (youth oriented films – the rise of the brat pack, “Back to the Future”), and a new revival of science fiction films (thanks to “Star Wars”). This is the second part of the American Gangster Films series (1970s – 1990s). ![]()
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