Dustin Hoffman stars in the action-packed gangster epic detailing the rise and fall of notorious mobster Dutch Schultz as seen through the eyes of his young protege, Billy Bathgate. Billy, an ambitious streetwise kid seduced by the power, money, and glamour of crime, soon begins to seriously question if his passport to the good life is going to come from the fiery Dutch and his gang! (officiële tekst van distribiteur)


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Engels From each shot, it is evident that the studio believed in the film and considered it a prestigious A-list investment. The luxurious cast, rich set design, and excellent craftsmanship, whether it be camera work, sound, or costumes. I wouldn't say the result is boring, but perhaps a very average, easily forgettable spectacle that, surprisingly, doesn't earn any points even in the (rare) shootouts or gangster reckonings. Film enthusiasts will likely remember the liquidation of Dutch Schultz from the musically colorful The Cotton Club or possibly from other films, as the execution of this well-known gangster was among the key moments in the history of the American underworld. The film is also not helped by Hoffman and other stars in key roles, and perhaps only Nicole Kidman knew how to sell her youthful charm and acting in a way that will come to mind after a few days. The biggest problem may be the casting of the nondescript Loren Dean in the role of the protagonist. This is simply a film that will fill in boring moments, but don't expect anything significant from it. Overall impression: 55%. ()


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Engels So many famous faces for such a mediocre movie. Moreover I can’t get rid of the notion that it was Loren Dean’s performance, who I think was an awful fit for portraying Billy Bathgate, which made this movie so mediocre. ()



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Engels A very solid gangster film, which seems to be in the shadow of all those De Palma films, but also still has something to offer. The remarkable cast of the main and supporting roles satisfied me and made me overlook the sometimes imperfect sets. For 1935 this was not very accurate, but still acceptable in the practice of the early 1990s. Hoffman was a proper primitive character here, while Kidman surprised us with the suppression of her lush rust-colored thatch of hair and racy eroticism (indeed, Eyes Wide Shut wasn't the only argument for revealing her). I also appreciated the traditionally ironic Willis, Buscemi, and Tucci. I was surprised by the young Moira Kelly and from then on I just enjoyed the pleasant story of Billy Bathgate, the lucky juggler. ()

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