Misplaced Pages

#430569

93-715: He had studied under Ei Ogawa, one of the main writers of the Japanese crime drama TV series Taiyō ni Hoero! that Sugimura was hired for in 1975 as well, marking his first job as a scenarist. Starting his own business, he went on to become the main writer of Sukeban Deka and the Metal Hero Series , and later created scenarios for Seibu Keisatsu , Lupin III Part II , Hadaka no Taishō and Kamen Rider Black . A great fan of Shinji Mikami 's Resident Evil , Sugimura became involved with Capcom when he

186-444: A Cuban exile and ambitious newcomer to Miami who sees an opportunity to build his own drug empire. Abel Ferrara 's 1990 King of New York tells the story of Frank White, ( Christopher Walken ) and his return to New York City from prison. He navigates both the traditional Italian mafia authorities as well as the new cartels, as they are producing, smuggling and distributing cocaine in an uneasy business alliance. An early example of

279-416: A Hollywood feature went from $ 20,000 in 1914 to $ 300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld (1927) eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s. The groundwork for

372-455: A biographical mafia film distributed by Netflix , The Irishman , starring all three heavyweights in the genre, Robert De Niro as Frank "The Irishman" Sheeran , Al Pacino as Jimmy Hoffa and Joe Pesci as Russell Bufalino . In 2021, The Many Saints of Newark was released, as a prequel to David Chase 's HBO New Jersey Italian mafia series, The Sopranos . Directed by Alan Taylor and produced by David Chase and Lawrence Konner ,

465-478: A broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre). The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in

558-539: A certain illegal act. The genre is differentiated from Westerns and the gangs of that genre. In 2008, the American Film Institute defines the genre as "centered on organized crime or maverick criminals in a twentieth century setting". The institute named it one of the 10 "classic genres" in its 10 Top 10 list, released in 2008. The list recognizes 3 films from 1931 & 1932, Scarface , The Public Enemy & Little Caesar . Only 1 film made

651-505: A change signaled by films like Chinatown (1974) and The Wild Bunch (1969) noting that older genres were being transformed through cultivation of nostalgia and a critique of the myths cultivated by their respective genres. Todd found that this found its way into crime films of the 1980s with films that could be labeled as post-modern , in which he felt that "genres blur, pastiche prevails, and once-fixed ideals, such as time and meaning, are subverted and destabilized". This would apply to

744-636: A cinema vérité story of a young aspiring mobster and his problem-gambler friend, played by Robert De Niro . In 1974, Sam Peckinpah directed Bring Me the Head of Alfredo Garcia , about the Mexican mob, family honor, and the opportunistic Bennie ( Warren Oates ), friend of the eponymous Alfredo Garcia, looking to make a big score when the chance drops in his lap. Bonnie and Clyde was one of 1967's biggest box office hits and garnered 2 Academy Awards and 8 other nominations, including best picture. It, along with

837-575: A conservative era. For crime films, this led to various reactions, including political films that critiqued official policies and citizen's political apathy. These included films like Missing (1982), Silkwood (1983), and No Way Out (1987). Prison films and courtroom dramas would also be politically charged with films like Kiss of the Spider Woman (1985) and Cry Freedom (1987). While films about serial killers existed in earlier films such as M (1931) and Peeping Tom (1960),

930-454: A crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal." The 1940s formed an ambivalence toward the criminal heroes. Leitch suggested that this shift was from the decline in high-profile organized crime, partly because of the repeal of Prohibition in 1933 and partly because of the well-publicized success of the FBI. Unlike the crime films of the 1930s,

1023-484: A film described as "crime/ action " or an "action/crime" or other hybrids was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir stated that categorization of multiple generic genre labels was common in film reviews and rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Leitch, stated that

SECTION 10

#1732791372431

1116-507: A gangster who balances "Kung Fu honor" and the materialistic goals of the Triads. It was the all-time biggest grossing Hong Kong film at the box office and was critically acclaimed. Woo followed with a string of successes, including The Killer , Bullet in the Head , and Hard Boiled . Soviet propaganda has always said that organized crime exists only in the West. With the dissolution of

1209-474: A hit. This movie about four friends was made in the road movie style. In 2006, Buslov released the sequel Bimmer 2  [ ru ] . In 2005, Aleksei Balabanov returned to the theme of gangster cinema and filmed a black comedy Dead Man's Bluff . In 2010, Balabanov returned to the theme of bandits in The Stoker . In 2010, The Alien Girl was released by Anton Bormatov. Russian television shows

1302-491: A locker of the Hollywood Athletic Club. The Asphalt Jungle (1950) consolidated a tendency to define criminal subculture as a mirror of American culture. The cycle of caper films were foreshadowed by films like The Killers (1946) and Criss Cross (1949) to later examples like The Killing (1956) and Odds Against Tomorrow (1959). Leitch wrote that these films used the planning and action of

1395-435: A lot longer than me. [...] I had recently asked him to do a new script for an upcoming game from Game Republic and I was looking forward to working with him again". • asterisk= head writer Crime drama Crime films , in the broadest sense, is a film genre inspired by and analogous to the crime fiction literary genre. Films of this genre generally involve various aspects of crime and its detection. Stylistically,

1488-684: A mobster known as The Snapper Kid. Regeneration (1915) was an early feature-length film about a gangster who saved from a life of crime by a social worker. These two early films and films like Tod Browning 's Outside the Law (1920) that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres (1974) stated that prior to Little Caesar (1931), gangster characters were in films were essentially romances . European films of

1581-411: A much darker neo-noir tone, a more fatalistic story, and a more gritty and violent portrayal of gangster life. The early 2000s saw a resurgence of British gangster films, popularised by director Guy Ritchie 's black comedy ensemble caper films Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000), and by Jonathan Glazer 's Sexy Beast (2000). Notable British gangster films from

1674-535: A psychopathic personality." Drew Todd in Shots in the Mirror: Crime Films and Society described the character as different than films featuring rebellious characters from the 1940s and 1950s, with a character whose anger is directed against the state, mixed with fantasies of vigilante justice. Films like Dirty Harry , The French Connection and Straw Dogs (1971) that presented a violent vigilante as

1767-470: A remake of The Defiant Ones (1958). The cycle generally slowed down by the mid 1970s. Prison films closely followed the formulas of films of the past while having an increased level of profanity, violence and sex. Cool Hand Luke (1967) inaugurated the revival and was followed into the 1970s with films like Papillon (1973), Midnight Express (1978) and Escape from Alcatraz (1979). When Ronald Reagan became president in 1980, he ushered in

1860-686: A remake of the 1932 original , by Brian De Palma , and 1990's Goodfellas by Martin Scorsese . The rise and fall of a mobster in a classic gangster film is often a thematic trope . In the 1970s, as genre theory came to the focus of academic study and the creation of a more specific taxonomy of genres was defined, gangster films started being distinguished from other subgenres, especially that of western. The genre has been predominantly defined by its historical, ideological, and sociocultural context. Three main categories of gangster films can be distinguished, according to Martha Nochimson: films that follow

1953-413: A robbery todramatize the "irreducible unreasonableness of life." The themes of existential despair made the these film popular with European filmmakers, who would make their own heist films like Rififi (1955) and Il bidone (1955). Filmmakers of the coming French New Wave movement would expand on these crime films into complex mixtures of nostalgia and critique with later pictures like Elevator to

SECTION 20

#1732791372431

2046-420: A savior. By the mid-1970s, a traditional lead with good looks, brawn and bravery was replaced with characters who Todd described as a "pathological outcast, embittered and impulsively violent." Hollywood productions began courting films produced and marketed by white Americans for the purpose of trying to attract a new audience with blaxploitation film. These films were almost exclusively crime films following

2139-568: A young Vito Corleone . The lesson of the films' successes was not wasted on Hollywood. Throughout the 1970s and 1980s, the studios issued a steady flow of films about Italian American gangsters and the Mafia. Some of these were critically acclaimed. Scorsese's Goodfellas about Henry Hill 's life and relationship with the Lucchese and Gambino crime families, was nominated for six Academy Awards , including Best Picture and Best Director and won

2232-765: Is a stark portrayal of a young gang leader and the racketeers in Brighton. It has been recognized as one of the greatest UK films ever by the British Film Institute . The late 1960s to early 70s saw a brief boom in British gangster films, alongside spy films and heist films , mirroring similar trends in Hollywood, Italy and elsewhere. Some films from this era took a lighthearted comedic approach to crime stories, like The Italian Job (1969), while others like Villain and Get Carter (both 1971) had

2325-402: Is a style of crime film that originated from two cinematic precursors: the gangster film and the gentleman thief film. The essential element in these films is the plot concentration on the commission of a single crime of great monetary significance, at least on the surface level. The narratives in these films focus on the heist being wrapped up in the execution of the crime more or at as much as

2418-765: Is considered to have begun with Fukasaku's Battles Without Honor and Humanity (1972), a violent, realistic portrayal of post-war gangs in the ruins of Hiroshima . Prior to Battles , the films of Seijun Suzuki had departed from the ninkyo eiga formula, but had met with limited commercial success. Suzuki's Branded to Kill later inspired other directors in the gangster film genre, including John Woo , Chan-wook Park and Quentin Tarantino . Indian cinema has several genres of gangster films. Examples include: The Hong Kong gangster film genre began with 1986's A Better Tomorrow , directed by John Woo and starring Chow Yun Fat . Woo's tale of counterfeiters portrays

2511-423: Is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters." The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society

2604-569: The Academy Award for Best Picture . A 2018 biographical mafia film, Gotti , directed by Kevin Connolly , stars John Travolta as John Gotti, released in June. On review aggregator Rotten Tomatoes , the film holds an approval rating of 0% based on 38 reviews, and an average rating of 2.3/10. The website's critical consensus reads, " Fuhgeddaboudit ." In 2019, Martin Scorsese released

2697-594: The Bonanno crime family of New York City during the 1970s. It was nominated for an Academy Award for Best Adapted Screenplay . In 2006, Scorsese released The Departed , his adaptation of Infernal affairs , the Hong Kong film. The Departed was also loosely based on the Whitey Bulger story, and Boston's Winter Hill Gang , which Bulger led. It earned Scorsese an Academy Award for Best Director , and won

2790-640: The British Board of Film Censors or conveyed mostly through narration. Box-office receipts began to grow stronger towards the late 1960s. Hollywood's demise of the Hays Code standards would allow for further violent, risqué and gory films. As college students at the University of Berkeley and University of Columbia demonstrated against racial injustice and the Vietnam, Hollywood generally ignored

2883-587: The Chicago Outfit , that ran multiple casinos in Las Vegas during the 1970s and 1980s. The film was De Niro's third mob film of the 1990s, following Goodfellas (1990) and A Bronx Tale (1993). In 1996, Armand Assante starred in the television film Gotti as infamous New York mobster, John Gotti . In 1997's Donnie Brasco , Pacino starred alongside Johnny Depp in the true story of undercover FBI agent Joseph Pistone and his infiltration of

Noboru Sugimura - Misplaced Pages Continue

2976-503: The Federal Bureau of Investigation (FBI) in 1935), promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly , Pretty Boy Floyd and John Dillinger . Hoover's fictionalized exploits were glorified in future films such as G Men (1935). Through the 1930s, American films view of criminals were predominantly glamorized, but as

3069-436: The Lucchese crime family Henry Hill . It was one of the most notable gangster films of the 1990s. Robert De Niro and Joe Pesci also starred in the film, with Pesci earning an Academy Award for Best Actor in a Supporting Role. The film was nominated for six Academy Awards, including Best Picture and Best Director, making Goodfellas one of the most critically acclaimed crime films of all time. In 1990, The Godfather Part III

3162-464: The Oscar for Best Picture , as well as the award for Best Actor for Marlon Brando and is widely considered one of the greatest American films of all time . In 1974, The Godfather Part II became the fifth-highest-grossing film of the year and garnered 11 Academy Award nominations . It again won Best Picture. Coppola won Best Director and Robert De Niro won best supporting actor for his portrayal of

3255-1045: The Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films. Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery (1903) to Unforgiven (1992) often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 (1950) and Rancho Notorious (1952) are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction (2020) that "unquestionably most Western films are crime films" but that that their overriding generic identification

3348-438: The gangster film as both a genre on its own terms and a subgenre of the crime film. In these films, the gangster and their values have been imbedded through decades of reiteration and revision, generally with a masculine style where an elaboration on a codes of behavior by acts of decisive violence are central concerns. The archetypal gangster film was the Hollywood production Little Caesar (1931). A moral panic followed

3441-612: The 1940s films were based more on fictional tales with gangsters played by Paul Muni in Angel on My Shoulder (1946) and Cagney in White Heat (1949) were self-consciously anachronistic. Filmmakers from this period were fleeing Europe due to the rise of Nazism. These directors such as Fritz Lang , Robert Siodmak , and Billy Wilder would make crime films in the late 1930s and 1940s that were later described as film noir by French critics. Several films from 1944 like The Woman in

3534-619: The 1960s onward include: Films about the Kray Twins (active in the 1950s and 60s) include: Richard Burton 's character in Villain (1971) was also loosely based on Ronnie Kray . The ninkyo eiga (chivalry films) were replaced in the late 1960s and early 1970s by a new style, pioneered by Kinji Fukasaku and inspired by the French New Wave and American Film noir called Jitsuroku eiga (true record films). The new style

3627-689: The 1980s had an emphasis on the serial nature of their crimes with a larger number of films focusing on the repetitive nature of some murders. While many of these films were teen-oriented pictures, they also included films like Dressed to Kill (1980) and Henry: Portrait of a Serial Killer (1986) and continued into the 2000s with films like Seven (1995), Kiss the Girls (1997), and American Psycho (2000). In an article by John G. Cawelti titled " Chinatown and Generic Transformations in Recent American Films" (1979), Cawleti noticed

3720-539: The 1990s with films like Wild at Heart (1990). Quentin Tarantino would continue this trend in the 1990s with films where violence and crime is treated lightly such as Reservoir Dogs (1992), Pulp Fiction (1994) and Natural Born Killers (1994) while Lynch and the Coens would continue with Fargo (1996) and Lost Highway (1997). Other directors such as Martin Scorsese and Sidney Lumet would continue to more traditional crime films Goodfellas , Prince of

3813-817: The 20th century. It took African American producers and directors of the 1990s like John Singleton , Spike Lee and the Hughes Brothers to begin exploring the criminal lifestyle in American urban communities, telling stories of drugs, gang culture, gang violence, racism and poverty in African American communities. Examples of films from the 1990s fitting the African-American gangster genre include Boyz N The Hood , Menace II Society and New Jack City . Brian De Palma 's 1983 remake of Scarface stars Al Pacino as Tony Montana ,

Noboru Sugimura - Misplaced Pages Continue

3906-442: The American crime film which began rejecting linear storytelling and distinctions between right and wrong with works from directors like Brian de Palma with Dressed to Kill and Scarface and works from The Coen Brothers and David Lynch whose had Todd described as having "stylized yet gritty and dryly humorous pictures evoking dream states" with films like Blood Simple (1984) and Blue Velvet (1986) and would continue into

3999-659: The Casbah . Its distribution in America was blocked by the US-makers of its 1938 remake Algiers . French gangster films appeared again in the mid-1950s, most notably Jacques Becker 's Touchez pas au grisbi , American blacklisted filmmaker Jules Dassin 's Rififi and Jean-Pierre Melville 's Bob le flambeur . Melville would directed 1967's Le Samouraï starring Alain Delon as mob hitman Jef Costello. 1969 and 1970 saw

4092-522: The City (1980), Q & A (1990), and Casino (1995). Other trends of the 1990s extended boundaries of crime films, ranging from main characters who were female or minorities with films like Thelma and Louise (1991), Swoon (1991), Devil in a Blue Dress (1995), Bound (1996) and Dolores Claiborne (1996). Every genre is a subgenre of a wider genre from whose contexts its own conventions take their meaning, it makes sense to think of

4185-514: The Gallic gangster film is Maurice Tourneur ’s 1935 film Justin de Marseille set in Marseille . Tourneur's gangster-hero differentiates from his American equivalent by valuing honour, artisanship, community and solidarity. Four years before of the rise of film noir , in 1937, Julien Duvivier created Pépé le Moko , a French gangster film in the style of poetic realism that takes place in

4278-794: The Gallows (1958), Breathless (1960) and Shoot the Piano Player (1960). Following the classical noir period of 1940 to 1958, a return to the violence of the two previous decades. By 1960, film was losing popularity to television as the mass form of media entertainment. Despite To The crime film countered this by providing material no acceptable for television, first with a higher level of onscreen violence. Films like Psycho (1960) and Black Sunday (1960) marked an increase in onscreen violence in film. Prior to these films, violence and gorier scenes were cut in Hammer film productions by

4371-660: The Mirror: Crime Films and Society (2006) found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies (1980), described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and

4464-599: The Soviet Union , people of Russia had to face the fact of what they used to previously read only in newspapers. Gang wars accompanied the formation of a free market in Russia. This decade in Russia received the name of the "Dashing 90s" ( Russian : Лихие 90-е , translit. Lihie devyanostye ). In 1997, director Aleksei Balabanov released Brother which acquired cult status, and started to return interest of local people to Russian cinema, which had been in crisis since

4557-516: The Studio System (1981) does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films (2004) stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested

4650-461: The Window , Laura , Murder, My Sweet and Double Indemnity ushered in this film cycle. These works continued into the mid-1950s. A reaction to film noir came with films with a more semi-documentary approach pioneered by the thriller The House on 92nd Street (1945). This led to crime films taking a more realistic approach like Kiss of Death (1947) and The Naked City (1948). By

4743-443: The abuses suffered by the common people, often at the hands of the corrupt powers that be. The so-called "Chivalry movies" of the 1960s gave way to the violent realism of Kinji Fukasaku , whose 1973 Battles Without Honor and Humanity would inspire future filmmakers across the globe. In 1931 and 1932, three of the most enduring gangster films were ever produced. Scarface , Little Caesar and The Public Enemy remain as three of

SECTION 50

#1732791372431

4836-536: The award for Best Supporting Actor for Joe Pesci 's performance. Italian-American film Once Upon a Time in America directed by Sergio Leone about David "Noodles" Aaronson played by Robert De Niro is considered one of the best gangster films of all time. The 1987 film The Untouchables was nominated for four Academy Awards . Sean Connery won the Academy Award for Best Supporting Actor in his role as an associate of Eliot Ness who helped bring down Al Capone . Others, however, strayed into stereotypes and

4929-486: The best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films , detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups. The criminal acts in every film in

5022-733: The blame from the criminal's shoulders, onto a cruel society in which success is difficult. At the end of the 1930s, crime films became more figurative, representing metaphors, as opposed to the more straight forward films produced earlier in the decade, showing an increasing interest in offering a thought provoking message about criminal character. With the abolition of the Hays Code in the late 1960s, studios and filmmakers found themselves free to produce films dealing with subject matter that had previously been off-limits. Early examples include Arthur Penn 's 1967 depression-era tale of Bonnie and Clyde . In 1973's Mean Streets , Scorsese directed

5115-546: The box office. The success of the film and its sequel The Godfather Part II (1974) reinforced the stature of the gangster film genre, which continued into the 1990s with films Scarface (1983), Once Upon a Time in America (1984), The Untouchables (1987), Goodfellas (1990) and Donnie Brasco (1997). Dirty Harry (1971) create a new form of police film, where Clint Eastwood 's performance as Inspector Callahan which critic Pauline Kael described as an "emotionless hero, who lives and kills as affectlessly as

5208-431: The character of Jimmy "Popeye" Doyle who Leitch described as a "tireless, brutal, vicious and indifferent" in terms of constraints of the law and his commanding officers. The film won several Academy Awards and was successful in the box office. This was followed in critical and commercial success of The Godfather (1972) which also won a Best Picture Academy Award and performed even better than The French Connection in

5301-429: The continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society. Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions ,

5394-412: The crime film was following changing attitudes towards the law and the social order that criminals metaphorically reflect while most film were also no more explicitly violent or explicitly sexual than those of 1934. White Heat (1949) inaugurated a cycle of crime films that would deal with the omnipresent danger of the nuclear bomb with its theme of when being threatened with technological nightmares,

5487-554: The criminal psychology and are characterized by and emphasis on the crime unfolding often though montage and extended sequences. The genre is sometimes used interchangeable with the term "caper". The term was used for the more dramatic films of the 1950s, while in the 1960s, it had stronger elements of romantic comedy with more playful elements as seen in films like The Thomas Crown Affair (1968) and Topkapi (1964). Leitch described combining genres as problematic. Screenwriter and academic Jule Selbo expanded on this, describing

5580-680: The decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest (1936), a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces (1938) and The Roaring Twenties (1939). Unlike actor James Cagney , whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath

5673-479: The depiction of bootlegging is a frequent occurrence in many early mob films. As the 1930s progressed, Hollywood also experimented with the stories of rural criminals and bank robbers, such as John Dillinger , Baby Face Nelson , and Pretty Boy Floyd . The success of these characters in film can be attributed to their value as news subjects, as their exploits often thrilled the people of a nation who had become weary with inefficient government and apathy in business. As

SECTION 60

#1732791372431

5766-406: The earliest films, reflecting doubts about how well the American system was working. As stated, many films pushed the message that criminals were the result of a poor moral and economic society, and many criminal protagonists are portrayed as having foreign backgrounds or coming from the lower class. Thus, the film criminal is often able to evoke sympathy and admiration from the viewer, who often shift

5859-452: The early 1990s. In 2000 came the sequel Brother 2 , which was even more successful. In 2001, actor Sergei Bodrov Jr. , who played a major role in both of those films, released Sisters , which was his directorial debut. Other notable films of those years were Antikiller (2002) by Yegor Konchalovsky and Tycoon (2002) by Pavel Lungin . In 2004, Pyotr Buslov, a young 26-year-old director, released Bimmer , which instantly became

5952-401: The end of the decade, American critics such as Parker Tyler and Robert Warshow regarded Hollywood itself as a stage for repressed American cultural anxieties following World War II. This can be seen in films such as Brute Force , a prison film where the prison is an existential social metaphor for a what Leitch described as a "meaningless, tragically unjust round of activities." By 1950,

6045-556: The escapades of outlaw rebels, such as Bonnie and Clyde , melodramas of villain gangsters against whom the in-story victims and the audience identify, such as Key Largo and, most predominantly in the genre, films following an outsider, immigrant gangster protagonist, with whom the audience identifies. The first Japanese films about the Yakuza evolved from the Tendency films of the 1930s. They featured historical tales of outlaws and

6138-559: The film focuses on the young future mafia boss Tony Soprano , with the 1967 Newark riots as a backdrop. Apart from telling their own tales of African American gangsters in syndicates, films like Black Caesar feature the Italian mafia prominently. Often the blaxploitation films of the 1970s such as Shaft tell the tale of African American gangsters rising up and defeating the established white criminal order. African Americans were under-represented in filmmaking roles during much of

6231-551: The films imply that criminals are the creation of society, rather than its rebel, and considering the troublesome and bleak time of the 1930s, that argument carries significant weight. Often the best gangster films are closely tied to the reality of crime, reflecting public interest in a particular aspect of criminal activity. Thus, the gangster film is in a sense, a history of crime in the United States. The institution of Prohibition in 1920 led to an explosion in crime, and

6324-529: The films were domestic successes, and Borsalino was popular elsewhere in Europe. None of them, however, broke through in the United States. Various British film noir and crime dramas from the 1930s, 40s and 50s were set in the underworld with gangster or racketeer character, such as Night and the City (1950). The 1947 adaptation of the Graham Greene novel by the same name, Brighton Rock ,

6417-504: The first three main installments of the Onimusha series. Sugimura also created the draft script for Haunting Ground , which was a revised edition of a Resident Evil 4 script that had been rejected. This modified script was then transformed into the draft for Devil May Cry . Sugimura died in 2005. Yoshiki Okamoto , who meanwhile founded Game Republic , said: "He was an extremely energetic person, and I thought that he would live

6510-536: The gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone , while pulp magazines like Black Mask (1920) helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly 's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined

6603-511: The genre has been popular since the dawn of the sound era of film. Ursini and Silver said that unlike the Western, the horror film, or the war film, the popularity of crime cinema has never waned. Gangster film A gangster film or gangster movie is a film belonging to a genre that focuses on gangs and organized crime . It is a subgenre of crime film , that may involve large criminal organizations, or small gangs formed to perform

6696-601: The genre may overlap and combine with many other genres, such as drama or gangster film , but also include comedy , and, in turn, is divided into many sub-genres, such as mystery , suspense or noir . Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy , claiming that all feature-length narrative films can be classified by these super-genres.  The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in

6789-412: The genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamourous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about

6882-566: The genre with films like Little Caesar (1931), The Public Enemy (1931), and Scarface (1932). In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer." Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931. Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself

6975-633: The gratuitous use of Italian ethnicity in minor characters who happened to be criminals. This created a backlash in a portion of the Italian American community. In the 1990s there were several critically acclaimed mob films, many of which were loosely based on real crimes and their perpetrators. Many of these films featured long-time actors, well known for their roles as mobsters such as Al Pacino , Robert De Niro , Joe Pesci and Chazz Palminteri . In 1990, Goodfellas , directed by Martin Scorsese , starred Ray Liotta as real-life associate of

7068-410: The greatest examples of the genre. However, starting in the mid-1930s, the Hays Code and its requirements for all criminal action to be punished, and all authority figures to be treated with respect, made gangster films scarce for the next three decades. Politics combined with the social and economic climate of the time, influenced how crime films were made, and how the characters were portrayed. Many of

7161-526: The growing rage against the establishment spilled into portrayal police themselves with films like Bullitt (1968) about a police officer caught between mob killers and ruthless politicians while In the Heat of the Night (1967) which called for racial equality and became the first crime film to win an Academy Award for Best Picture . The French Connection (1971) dispensed Bullitt ' s noble hero for

7254-445: The law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice-versa. Crime films includes all films that focus on any of

7347-706: The list from 1933 to 1966, 1949's White Heat . This was at least partly due to the limitations on the genre imposed by the Hays Code , which was abandoned in favor of the Motion Picture Association of America film rating system in 1968. Beginning in the 1960s, the genre was revitalized in the New Hollywood movement. New Hollywood directors were honored with 5 of the top 6 films on the list—1967's Bonnie and Clyde by Arthur Penn , 1972's The Godfather and 1974's The Godfather Part II both by Francis Ford Coppola , 1983's Scarface ,

7440-498: The main gangster Jody Jarrett fights fire with fire. These themes extended into two other major crime films by bring the issues down from global to the subcultural level: The Big Heat (1953) and Kiss Me Deadly (1955) which use apocalyptical imagery to indicate danger with the first film which the film persistently links to images of catastrophically uncontrolled power and the "traumatic consequences" of nuclear holocaust and Kiss Me Deadly literally features an atom bomb waiting in

7533-497: The newly formed FBI increased in power, there was a shift to favour the stories of the FBI agents hunting the criminals, instead of focusing on the criminal characters. In 1935, at the height of the hunt for Dillinger, the Production Code office issued an order that no film should be made about Dillinger, for fear of further glamorizing his character. Many of the 1930s crime films dealt with class and ethnic conflict, notably

7626-405: The only or first gangster film following the fall of the production code, The Godfather (1972) was the most popular and launched a major revival of the style. The film followed the themes of the genres past while adding new emphasis on the intricate world of the mafia and its scale and seriousness that established new parameters for the genre. The heist film, also known as the "big caper" film

7719-515: The others, were overshadowed by Francis Ford Coppola's Godfather saga. In 1972, Francis Ford Coppola 's The Godfather was released. The epic story of the Corleone family , its generational transition from post-prohibition to post-war, its fratricidal intrigues, and its tapestry of mid-century America's criminal underworld became a huge critical and commercial success. It accounted for nearly 10% of gross proceeds for all films for 1972. It won

7812-434: The release of the early gangster films following Little Caesar , which led to the 1935 Production Code Administration in 1935 ending its first major cycle. As early as 1939, the traditional gangster was already a nostalgic figure as seen in films like The Roaring Twenties (1939). American productions about career criminals became possible through the relaxation of the code in the 1950s and its abolition in 1966. While not

7905-771: The release of three successful French gangster films featuring the day's biggest French movie stars. All three films featured good looking star Alain Delon . In 1969, Jean Gabin , Delon, and Lino Ventura starred in Le clan des siciliens , about a jewel thief and the Mafia . In 1970, Borsalino , a tale of the Italian Mafia in 1930 Marseilles, featured Delon, along with Jean-Paul Belmondo . In 1970, in Le Cercle Rouge , Delon, Gian Maria Volonté , and Yves Montand team up to rob an impenetrable jewelry store. All three of

7998-536: The silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives. Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade 's film serial Fantômas (1913). The average budget for

8091-410: The success of Shaft (1971) which led to studios rushing to follow it's popularity with films like Super Fly (1972), Black Caesar (1973), Coffy (1973) and The Black Godfather (1974) The films were often derivations of earlier films such as Cool Breeze (1972), a remake of The Asphalt Jungle , Hit Man (1972) a remake of Get Carter (1971), and Black Mama, White Mama (1973)

8184-407: The three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street (1987); caper films like The Asphalt Jungle (1950); and prison films ranging from Brute Force (1947) to The Shawshank Redemption (1994). Crime films are not definable by their mise-en-scene such as

8277-450: The war in narratives, with exceptions of film like The Green Berets (1968). The crime film Bonnie and Clyde (1967) revived the gangster film genre and captured the antiestablishment tone and set new standards for onscreen violence in film with its themes of demonizing American institution to attack the moral injustice of draft. This increase of violence was reflected in other crime films such as Point Blank (1967). Leitch found

8370-532: Was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America 's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamourous and as charismatic as the criminals. J. Edgar Hoover , director the Bureau of Investigation (renamed

8463-471: Was introduced to Yoshiki Okamoto during the production of Resident Evil 2 . Initially consulted on a trial basis, he ended up writing the complete story for the game and, together with Okamoto and two others, co-founded the now-defunct Capcom writers studio Flagship in April 1997 and would later work on other Capcom titles such as Clock Tower 3 , Dino Crisis 2 , Dino Stalker , Dino Crisis 3 , and

8556-757: Was released. Al Pacino reprised his role as the iconic Michael Corleone . The film served as the final installment in The Godfather trilogy, following Michael Corleone as he tries to legitimize the Corleone family in the twilight of his career. In 1993, Pacino starred in Carlito's Way as a former gangster released from prison who vows to go straight. In 1995, following their collaboration in Goodfellas , Scorsese, De Niro and Pesci teamed up again to make Casino , based on Frank Rosenthal , an associate of

8649-400: Was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D.W. Griffith 's The Musketeers of Pig Alley (1912) involving a young woman hounded by

#430569