A well-directed film with a really gritty style. I like Mickey Rourke's internal torment as he tries to bring down the Triad. I also think John Lone is great as the villain. However, the film doesn't really work for me. I think it's the romance between Rourke and Ariane Koizumi seems forced - I didn't believe the two would ever get together. Their scenes together brought the whole film down for me.
Cimino goes pretty far by making a gangster movie that serves as a metaphor for the Vietnam war and studies racism trought the very complex character of Mickey Rourke, who you don't really like, but still care for his goal. The cinematography is simply gorgeous and the action is spectacular. There's no doubt this inspired a lot of 90's gangster flick, especially King of New York.
There's a boldness that ceases to be present in crime films made today. Here the decisions are absolute and Cimino refuses to compromise his vision for fear of offending the viewer. Whereas nowadays you're walking on eggshells, hoping the pieces of your finished film come together as a puzzle that's half as good as it could have been, half as good as it would have been and half as good as Cimino could have done it.
O Michael, what were you thinking.. Cimino was never the same after the Heaven's Gate debacle and he lost all discipline on this rambling follow-up feature. However, there are scenes of almost operatic Leone/Peckinpah-like splendour among the difficult-to-swallow dialogue scenes of the Stone-assisted screenplay and Rourke is mesmerizing as easily the most unlikeable anti-hero in '80's cinema. A curious curate's egg..
Grandissima pellicola di Cimino,che ha il talento e la mano necessaria per far convivere sullo schermo lo stridente ossimoro violenza-eleganza.Rimandi evidenti al suo cinema(l incubo Vietnam),ignoranza vivida e tangibile ma mai gratuita,scontro razziale(ed economico)a livelli davvero alti.La gestione dello spazio scenico è grandiosa,con un'alternanza tra coralità e individualità vista poche altre volte.Vero Cult.
The bold decisions feel applied with a paintbrush. Thus adorned, Stanley clashes against crime in reverse, wherein he and everyone he interacts with are thrust into tragedy, this a consequence of behavior and universal truths rather than whims of frivolity. Smartly directed, beautifully masked.
YotD captures the menace of tenuous, violent lives caught in the maelstrom of urban, immigrant life, much like "Heaven's Gate". One feels that Oliver Stone's co-writing credit explains much of why this works in ways that the subsequent films (and, much as I love it, parts of "Heaven's Gate") do not. But YotD is part of a laudable tradition with "Heaven's Gate" that both criticises and praises the American experience.
The Deer Hunter and Heaven's Gate both have their moments, but I have to say that this is probably my favorite Cimino, and IMO, his most underrated. It has another outstanding Mickey Rourke neo-noir performance and some great action sequences. And I love those blue-tinted shots of New York from Tracy's apartment.
The pacing is constantly off, Ariane couldn't act for cheeseballs, and you can smell oliver stone's little fingers in it from a mile away. Only Rourke and the awesome camera handling make this. would be four stars but that damned Ariane was so damned distracting