#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Chicago February 14th 1929. Al Capone finally establishes himself as the city’s boss of organised crime. In a north-side garage his hoods, dressed as policemen, surprise and mow down with machine-guns the key members of Bugs Moran’s rival gang. The film traces the history of the incident, and the lives affected and in some cases ended by it.
Plot: Chicago February 14th 1929. Al Capone finally establishes himself as the city’s boss of organised crime. In a north-side garage his hoods, dressed as policemen, surprise and mow down with machine-guns the key members of Bugs Moran’s rival gang. The film traces the history of the incident, and the lives affected and in some cases ended by it.
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Bears interesting comparison with THE GODFATHER.
It’s incredible to think that this film, Roger Corman’s major studio debut, and THE GODFATHER (made by Corman alumnus Coppola) were made within five years of each other. They could be decades apart, in look, in sensibility, in impact. Whereas GODFATHER gropes for a rich, mythic timelessness, MASSACRE seems brittle, thin, a mere pastiche of, variously, 30s Warners gangster films, 40s B-movies, or Corman’s own early work. Whereas Coppola’s characters have passed into popular culture, Corman’s gangsters are thinly characterised, theatrical, parodic; whereas GODFATHER’s plot is slow-burning, tense, silent, punctuated with shocking shards of tangible violence, MASSACRE is almost cartoon-like in its relentless gunfire, which, because it’s not rooted in character, does not have as traumatic an effect.
Some of us, however, might recoil a little from the major film’s more questionable posturing, and MASSACRE has many excellencies. Most immediately pleasurable is the plot, mathematically simple, as Corman narrates the titular bloodbath like a theorem, showing A (Capone) meeting B (Moran) to create C (the massacre). QED. Nothing is allowed interfere with this beautiful simplicity – every scene, every character, every action refers to this theorem alone. Even scenes which seem to illustrate character (eg Peter Gusenberg and Myrtle) only do so to ‘explain’ why one side got the better of another.
This quality extends to the film as a whole, which is a series of repetitions and mirroring scenes. Another pleasure is the voiceover, which again transforms a conventional narrative about real people into abstract formalism. Like a voice of God, it intrudes without warning, frequently, mixing bald factual details about all the players (eg Such and such, born 1893 in such a place, suspected gun-runner, killer etc., will die on 3 May 1957 of heart failure) with speculation. Before any character has even begun their parts in the film, their life stories are known to us. This robs them of everything that makes us human – motivation, hope, action. Sartre said we are what we do. Not here. Robbed of human characteristics, they become mere ciphers, playing out their inevitable fates, and denying the viewer the kind of emotional empathy that Coppola will dubiously over-indulge in.
Despite the (relatively) high budget, production values do nothing to make the film more realistic. Indeed, the uniformity of colour (predominantly grey), the repetition of scenes and places, the reduction of sequences to sheer functionality, makes the film increasingly artificial. The theatricality of the acting adds to this, with Robards especially hamming away to amusingly grand effect, but theatricality is embedded too, as narratively crucial scenes become sites for rhetoric, oratory, dramatic performance, an actor declaiming to an enrapt public, hanging (for dear life) to his every word.
Add to all this Corman’s stunning, playful direction, confident and fluid, making interiors and objects live, fixing characters in their place. The violent scenes are expertly choreographed, if they aren’t disturbing, their formal excellence is undiminished. All this formalism is not an empty, academic exercise. By revealing the phoniness of his subject matter, Corman reveals the processes of myth-making that, especially through the cinema, curiously glamourised an era, when America was in thrall to a number of violent fascists.
Corman is not seriously moralistic, he is cheerfully aware of human nature’s strange pulls – he shows how the need for violence and sensation in cinema is close to the fascistic, but also undeniable. It is a trap Coppola doesn’t always avoid. The score, which makes ragtime eerily modernist, is astounding, while Corman reveals, as in TALES OF TERROR, that he has a canny sense of the domestic’s comic violence – the Pete/Myrtle scene is a hilarious-troubling classic.
Big Al’s Greatest Hit
The infamous St. Valintine Day Massacre in 1929 was the beginning of the end of Chicago mobster Alfonse “Big Al” Capone, Jason Robards, in that it drew the attention of the US Justice Department as well as IRS on him that eventually ended up putting him behind bars, for of all things tax evasion, and out of commission for good. It was the Irish George “Bugs” Moran and “Bug’s, Ralph Meeker, himself that Capone targeted who in fact escaped being killed just moments before the shooting began. Moran and his boys were out having a cup of coffee that snowy morning that kept them away from the garage on 2122 N. Clark St where the massacre happened.
Big Al had it in for Moran since 1924 in him trying to cut in on his action in North Chicago that drove him psycho.It was his overreaction to all this that in the end put then heat-or law- on Big Al like no other mobster ever could. The St. Valintine Day Massacre was the last of the Capone gangland wipe-outs that resulted, on both sides, in some 600 gang land killings in Chicago during the Capone years and by far the bloodiest. Not only did seven members of the “Bugs” Moran gang get killed but those who murdered them over the next few years ended up also getting iced themselves. As for “Bugs” Moran he in fact died in his sleep in 1957 after serving a 10 year sentence on a robbery conviction.
Using hoods dressed as Chicago police Capone, who at the time was vacationing in far off and sunny Florida, had Moran’s boys feel they were just getting pinched by the police on a minor charge and be booked and let go before the day ended. As things turned out it was to be the last day of their lives. Director Roger Corman’s first major movie that had him being taken seriously by the Hollywood big wigs who never thought that much of him and his talent as a serious filmmaker.
P.S It was Capone’s use of fake police to do his dirty work that was soon to be copied by fellow big time mobster “Lucky” Luciano two years later in the notorious September 10, 1931 massacre-Depicted in movies like “Stone Killer” & “The Valichi Papers”- of some 40 old line Mafia hoods in NYC and its surroundings that in the end made the mob or Mafia far more effective dangerous and successful, by letting non Sicilians to join it, then it even was during the Al Capone era.
Original Language en
Runtime 1 hr 40 min (100 min)
Rated Not Rated
Genre Crime, Drama, History
Director Roger Corman
Writer Howard Browne
Actors Jason Robards, George Segal, Ralph Meeker
Country United States
Production Company N/A
Sound Mix Mono (Westrex Recording System)
Aspect Ratio 2.35 : 1
Laboratory DeLuxe, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm
Cinematographic Process Panavision
Printed Film Format 35 mm