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Scorsese and Pileggi collaborated on the script for five months, towards the end of Some characters were combined, and parts of the story were set in Kansas City instead of Chicago.
A problem emerged when they were forced to refer to Chicago as "back home" and use the words "adapted from a true story" instead of "based on a true story.
They also decided to simplify the script, so that the character of Sam "Ace" Rothstein worked only at the Tangiers Casino, in order to show a glimpse of the trials involved in operating a Mafia-run casino hotel without overwhelming the audience.
The scene was too detailed, so they changed the sequence to show the explosion of Sam's car and him flying into the air before hovering over the flames in slow motion—like a soul about to go straight down to hell.
Filming took place at night in the Riviera casino in Las Vegas, with the nearby defunct Landmark Hotel as the entrance, to replicate the fictional Tangiers.
According to the producer Barbara De Fina , there was no point in building a set if the cost were the same to use a real-life one.
Several edits were made in order to reduce the rating to R. Casino was released in theaters in the United States on November 22, Upon its release, the film received mostly positive reviews from critics, although their praise was more muted than it had been for the thematically similar Goodfellas , released only five years earlier, with some reviewers criticizing Scorsese for retreading familiar territory.
The site's critical consensus reads, "Impressive ambition and bravura performances from an outstanding cast help Casino pay off in spite of a familiar narrative that may strike some viewers as a safe bet for director Martin Scorsese.
Roger Ebert gave the film four out of four, stating that "Martin Scorsese's fascinating new film Casino knows a lot about the Mafia's relationship with Las Vegas.
Like The Godfather it makes us feel like eavesdroppers in a secret place. He gave the film five stars commenting "It may not be Scorsese's greatest work, but this guy feeling a little off-colour is still far, far better than most people on fighting-fit form.
It only gets more impressive as time goes on. The film's critical profile has increased in years after its release, with several critics expressing that, in retrospect, they feel it is a more accomplished and artistically mature work than the thematically similar Goodfellas.
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Namespaces Article Talk. But I don't think that Casino is at all a "perfect" film. An 8 out of 10 may seem high, but if you're familiar with my reviews, you'll know that it's not that high of a score from me--it's closer to average from me.
There are plenty of flaws here, and I'm going to spend some time pointing them out, particularly since the film receives so many 10's.
The hotel became the Tangiers for the film. The mob backs Rothstein but has to set up a false front while Rothstein "secretly" runs the hotel, because of his gambling charges back East.
Meanwhile, mob strong-arm Nicky Santoro Pesci heads out to Vegas to protect Rothstein, but eventually ends up running his own rackets and trying to effectively take over the town.
Casino is the story of the relationship and political problems that this cast of characters and a number of associates run into.
It's roughly a gradual road to destruction for everyone involved. The film is unusual in many ways.
The most prominent oddity is that a large chunk of it is told via alternated narration from the two main characters, Rothstein and Santoro. The aim was probably to include a lot more of Pileggi's book, in a more literal way, than would have been possible through more conventional means.
It's remarkable that the narration works as well as it does, especially because a lot of it is given a rapid-fire delivery.
For at least the first 15 minutes, there is barely a pause in the narrational dialogue. One of the reasons it works is because of the style that Scorsese uses to accompany it in the opening.
He employs a lot of fast cuts while presenting very stylized, documentary-like footage. The opening feels as much like an entertaining behind-the-scenes look at how the typical casino works as it feels like a fictional film about gangsters.
This happens so subtly that one hardly notices. Scorsese's directorial style likewise evolves from the fast-cut documentary approach to something more conventional.
This is all well and good, but on the other hand, the gradual evolution can only happen because the film is so long--it clocks in just a couple minutes shy of 3 hours.
That's a bit too long for the story being told. By at least the halfway point, it starts to feel a bit draggy.
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