Such a frustrating disappointment

best movie i've ever seen.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

The best films of this genre always show a path and provide a takeaway for being a better person.

On the face of it, I was truly looking forward to seeing this movie because Rod Steiger is one of my all time favorite actors.But as the film progressed, I felt there was something wrong ?, something amiss ?, and then I realized that after seeing Rod Steiger in many films, I realized that there was nothing knew here as far as his acting was concerned, and I was left wondering if Rod Steiger had seen any footage of Al Capone in order to portray the gangsters character ?All in all I felt cheated by Rod Steiger's overall performance, because I felt he was simply being himself as in other roles.I would also suggest that another not so well known actor should have played the part, because Rod Steiger is a big name in the movie business and therefore his stature for me was bigger than the man he was supposed to be portraying.

Al Capone is directed by Richard Wilson and written by Malvin Wald and Henry F. Greenberg. It stars Rod Steiger, Martin Balsam, Nehemiah Persoff, Fay Spain, Joe DeSantis and Murvyn Vye. Music is by David Raksin and cinematography by Lucien Ballard.Alphonse Gabriel Capone, it's a name synonymous with gangsters of 1920s America, and of course of cinematic films. Richard Wilson's film is one of the better gangster biopics out there, filmed in semi-doc style, it unfolds with great human drama without glorifying the subject matter. If anything it's refreshingly unsentimental in its approach.Steiger is Capone (never Caponee!) and he puts his method stomp all over the role, carrying the film squarely on his well cast shoulders. He has all the ticks and mannerisms of Capone to either chill the blood or charm the other characters in the play, it is very much a powerhouse performance.As a history lesson it's not wholly accurate, but much of it is rigid in the life and times of the famous criminal. The period detail is splendid, with the backdrops boosted no end by the gorgeous monochrome photography served up by Ballard. Enthralling, sometimes violent and always intriguing, this is well worth a look. 7/10

I first saw this film during its initial release in 1959. I found it fascinating and it led to my interest in gangsters. It was many years later that I began to not just see movie gangsters but to read about them. Al Capone was my first read and that is where the problems began for me with this movie. Most of this film is based on fact, though over-the-top, and acted very well, especially Steiger's performance. My beef is with the portrayal of Al Capone's wife, played by Faye Spain. Capone's real wife, Mary Coughlin, called Mae by everyone, was a loving wife and mother. Almost everything in this film's portrayal of Capone's "wife" is false. Mae loved her husband, his philandering notwithstanding. She remained a faithful and loving wife until his death. The makers of this film, in their zeal to show Capone as an evil person, go too far.

I'm not sure that Rod Steiger comes across as very Italian in this movie. He wasn't really very good with dialects. And maybe he doesn't need to be too "Italian" anyway; Capone was born in Brooklyn, not Italy as he liked to claim. Steiger is a repulsive looking gangster here -- treacherous, sweaty, brutal, uncouth, and lecherous. Yet, I kind of like him. Steiger, I mean. Grew up hauling ice on the streets of Newark, New Jersey. Anybody who can get from there to an academy award has my vote. Oh, sure, he can sometimes turn in a nicely measured performance, as in "On the Waterfront" and "The Pawnbroker" and "Doctor Zhivago." And sometimes he flails about, chewing the scenery to a frazzle, as he does here. But the exaggerration is curiously appropriate. The musical score cues us that this isn't all meant to be taken too seriously. And through the mask of all those wild gestures, verbal quirks, and method grimaces he does manage to project a fullsome ruthlessness. His boss, Johnny Torrio (Nehemia Persoff) promotes him to partner and when Capone asks why, Persoff turns to him, eyes filled with fear, and replies in a quivering voice, "Al, I want you standing next to me. I don't want you behind me no more." The two actors play off each other well. I've sometimes wondered if they reminisced about the scene they had together in "On the Waterfront." Persoff was the taxi driver in that famous scene, which I watched Elia Kazan filming in Hoboken as a kid. "On the Waterfront" was Martin Balsam's debut film too. He was morally upright there, whereas he is a likable reporter here but embodies moral terpitude, which is engaging as far as it goes, until he crosses Capone. Fay Spain, playing a woman whom Capone has turned into a widow, is exotic and sexy, but a limited acress. James Gregory is miscast as the straight police officer who is Capone's nemesis. I can't recall a single movie in which he appeared to be anything but a lying blowhard. But his character gets the job done. There are no "Untouchables" here. For all of the loathsome things that Capone did or instigated he spent only eleven years in prison for tax evasion. It wasn't easy time, true. When he refused to join in an uprising he was stabbed from behind by another inmate -- and this was Capone! He was released and allowed to spend the rest of his life in his Florida mansion. I guess we are supposed to take his slow death from syphilis as somehow a providentially imposed punishment, but lots of people had syphilis -- good and bad. Even Florence Nightingale died of syphilis.