Wise Guys is a 1986 blackMafia comedy film directed by Brian De Palma and produced by Aaron Russo from a screenplay written by George Gallo and Norman Steinberg. It stars Danny DeVito and Joe Piscopo as two small-time mobsters from Newark, New Jersey, and features Harvey Keitel, Ray Sharkey, Lou Albano, Dan Hedaya, and Frank Vincent.

Plot[edit]

Italian American Harry Valentini and his Jewish friend and next-door neighbor Moe Dickstein occupy the bottom rung of Newark Mafia boss Anthony Castelo's gang. Making a living by doing Castelo's lowest jobs (such as looking after his goldfish, testing out bullet-proof jackets, or checking the boss's car for bombs) the two men dream of opening the world's first Jewish-Italian delicatessen. However, they get little to no respect from their boss or his subordinates, who frequently ridicule them. They accompany Frank 'The Fixer' Acavano, one of Castelo's top men and a violent, heavyset psychopath, to Meadowlands Racetrack to place a bet on Castelo's behalf. Valentini changes horses at the last minute because his boss usually bets on the wrong one. However, this time Castelo had fixed the race, meaning that Harry and Moe now owe their boss $250,000. After a night of torture, both are forced to agree to kill each other.

Unaware that each has made a deal and frightened following the murder of Harry's cousin Marco, they steal Acavano's Cadillac and travel to Atlantic City to see Harry's uncle Mike, a retired mobster who started Castelo in the crime business. After using Acavano's credit cards to pay for a luxury stay in a hotel owned by their old friend Bobby DiLea, the two go to Uncle Mike's house to ask for help. They find only Uncle Mike's ashes, leading to Moe leaving in disgust. Grandma Valentini, however, is able to give Harry the money he owes. Harry tries to get DiLea to sort things out with Castelo. As he and Moe leave the hotel, their limo is being driven by Acavano, after DiLea appears to double-cross the two. Harry luckily spies Castelo's hitmen and decides to stay behind and gamble the money. After a chase through the hotel casino, Moe catches up to Harry and accidentally shoots him. Harry is pronounced dead and Moe flees.

Back in Newark, Moe hides out of sight at Harry's funeral. He is spotted by the huge Acavano (who is eating a sandwich during the burial service) and Castelo resolves to kill Moe after the service. Moe returns to his house and prepares to hang himself. Before doing so, sees a vision of Harry at the foot of the stairs. He quickly realizes that it is actually Harry, who arranged the whole thing with DiLea. Moe is thrilled, although he is so shocked that he is almost hanged anyway until Harry intervenes. Harry provides a skeleton for Moe and they write a suicide note before turning on the gas and setting fire to the curtains. As the two leave Moe's house, however, the door slams shut and puts the fire out. Castelo and his men enter to find a bizarre scene. Castelo takes out a cigarette, prompting his stooges to routinely spark their lighters for him. Acavano asks 'Who farted?', prompting Castelo to realize the house is filled with gas just before the house explodes, with the crew inside it. Harry and Moe return to Atlantic City, where Moe bemoans the fact that they didn't keep the money. Harry informs him that he did save the money, but has invested it. Moe seems perturbed, but the film ends with their dream realized as the two stand in their Jewish-Italian delicatessen. The song plays over the closing credits is 'Tuff Enuff' by The Fabulous Thunderbirds.

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Cast[edit]

• Danny DeVito as Harry Valentini
• Joe Piscopo as Moe Dickstein
• Harvey Keitel as Bobby DiLea
• Ray Sharkey as Marco
• Dan Hedaya as Anthony Castelo
• Lou Albano as Frank Acavano
• Julie Bovasso as Lil Dickstein
• Patti LuPone as Wanda Valentini
• Antonia Rey as Aunt Sadie
• Mimi Cecchini as Grandma Valentini
• Matthew Kaye as Harry Valentini Jr.
• Tony Munafo as Santo Ravallo
• Tony Rizzoli as Joey Siclione
• Frank Vincent as Louie Fontucci
• Rick Petrucelli as Al
• Anthony Holland as Karl
• Dan Resin as Maitre D'
• Jill Larson as Mrs Fixer
• Maria Pitillo as Masseuse
• Catherine Scorsese as Birthday Guest
• Charles Scorsese as Birthday Guest

Reception[edit]

A positive review came from The New York Times, with Walter Goodman calling it amusing and fresh before concluding that 'Everything works.'^[1]Roger Ebert was similarly enthusiastic, giving the film three-and-a-half stars out of four and writing, 'Wise Guys is an abundant movie, filled with ideas and gags and great characters. It never runs dry.'^[2]Gene Siskel of the Chicago Tribune awarded a perfect grade of four stars and raved, 'Big laughs, foul language to the point of absurdity and one hilarious, screaming performance atop another combine to make 'Wise Guys' one of the funniest times you will have at the movies this year.'^[3] A negative review in Variety stated, 'Gone are the flamboyant excesses that made a DePalma film instantly recognizable. What's left is a limp, visually dull look at limp, mentally dull people. Equally guilty is the cast of unfunny comics led by Joe Piscopo and Danny DeVito .. There is little chemistry between the two to suggest their supposed great friendship and more often than not they appear to be acting separately, each in a different film.'^[4]Patrick Goldstein of the Los Angeles Times wrote, 'Directed by Brian De Palma with an uncharacteristic twinkle in his eye, the film offers such a likeable gallery of cement-heads that we're in no mood to carp about the movie's creaky storyline, belabored gags or meandering chase scenes.'^[5]Paul Attanasio of The Washington Post remarked, 'There is plenty of dumb stuff in 'Wise Guys,' a rambunctious comedy about two screwballs on the loose, probably more than anyone should stand for. But the doughty will stick around for its small pleasures, most of which spring from the lens of Brian De Palma—yes, that Brian De Palma, the sanguinary scourge of women everywhere, who seems to have gotten into this as something of a lark.'^[6]

As of September 2019, the film has a 31% 'Rotten' rating on Rotten Tomatoes.^[7]

DVD[edit]

Wise Guys was first released on VHS and Beta around 1986 by CBS/FOX Video. Wise Guys was released to DVD by Warner Home Video on August 30, 2005 as a Region 1 widescreen DVD and fairly recently as a DVD-on-demand from Warner Archive Collection available through Amazon.

References[edit]

1. ^'SCREEN: 'WISE GUYS' Walter Goodman, The New York Times, April 18, 1986
2. ^Ebert, Roger (April 18, 1986). 'Wise Guys Movie Review'. RogerEbert.com Retrieved September 3, 2019.
3. ^Siskel, Gene (April 18, 1986). 'De Palma makes hilarious rebound with 'Wise Guys'.Chicago Tribune. Section 7, Page A.
4. ^'Film Reviews: Wise Guys'. Variety. April 23, 1986. 17.
5. ^Goldstein, Patrick (April 18, 1986). 'Madcap Mobsters in 'Wise Guys'.Los Angeles Times. Part VI, p. 6.
6. ^Attanasio, Paul (May 10, 1986). 'Wise Guys': Mobster Mayhem'.The Washington Post. C4.
7. ^Rotten Tomatoes page for Wise Guys

External links[edit]

• Wise Guys on IMDb
• Wise Guys at AllMovie
• Wise Guys at Box Office Mojo
• Wise Guys at Rotten Tomatoes

This review (with spoilers, be warned!) comes from a friend of Mockingbird, Joseph Williams. Follow more of Joseph’s terrific work over at The Wise Guise.

In David O. Russell’s newest film, Silver Linings Playbook, the psychiatric issues abound: an undiagnosed bipolar disorder, obsessive compulsive disorder, sex addiction. Behind these, though, lie the more everyday varieties of guilt and self-contempt, delusional thinking and mixed-up love, not to mention some classic rom-com dance competition montages thrown in for good measure.

Silver Linings is the latest star-packed, indie-movie-that-could amongst all the blockbusters of awards season and, after riding a wave of film festival success and critical acclaim, the film has slowly expanded into more theaters nationwide. But it’s hard to know where exactly to place this film. It walks a dangerously dark tightrope but leaves viewers with surprising joy. You might say it succeeds in spite and maybe because of the difficult issues it addresses and genres it mixes. You want to call it a romantic comedy or a dark comedy, but it evades those categories: it has some of the best dramatic performances of the year in it, too. Or you’d be tempted to describe it as “feel-good”, but the lows are too low for that (although, I’d argue some of the more hope-giving films, like It’s a Wonderful Life, are so inspiring because they show you the darkness of humanity before redemption is realized). The film is ultimately a clinic in the balancing act of honest depiction. Russell’s direction, and performances from Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, make honest work of these raw realities and moments of redemption.

For my money it is one of the best movies of the year because it succeeds where so many fail: there are tons of dramedy scripts out there, trying to combine the life issues with laughs. So many of them fail either because they come off as too try-hard and self-serious, or the opposite happens and it’s too dark, or too silly. Silver Linings Playbook strikes the balance perfectly, and the snappy dialogue between its extreme yet nuanced characters even reveals a number of Gospel-related themes: the receiving and extending of true forgiveness; the humility one finds in the face of real obstacles, and the reality of hope for overcoming shortcomings that doesn’t involve denying them.

Like life itself, Silver Linings Playbook isn’t just tragic or just comic. It is both. There are tears and laughs and sometimes it’s hard to tell the difference.

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Chopsticks march .midi download. At its heart, this film is about friendship, family, romance, and coming to terms with our own human frailty with the help of others. It is all about grace, in other words, and its most potent lesson is that, before we can accept grace from others or offer grace ourselves, there has to be some realization of our limited control and need for it ourselves. Far too often, we either justify our shortcomings or let the guilt overwhelm us. But as Playbook masterfully illustrates, taking responsibility can actually serve as a pre-condition for grace.

Bradley Cooper plays Pat, a late thirty-something who has spent eight months in a mental institution. After a violent explosion that occurs upon finding his wife in the shower with one of his colleagues, it is determined that Pat has been living undiagnosed with bipolar disorder. Trying to better himself physically and mentally, and to get his job and wife back, Pat’s regimen of recovery soon hits some roadblocks, and he realizes cannot get better on his own.

Jennifer Lawrence plays Tiffany, a young woman guilt-ridden by choices that have indirectly led to her husband’s death. Turning to sex, she has been fired for sleeping with everyone in her office.

Friends and family, hoping that these two might find some healing with each other’s help, set up Pat with Tiffany. Tension quickly develops as Pat believes that Tiffany is in need of more help than he. Through uncomfortable humor, Tiffany challenges Pat to face the truth. Here is one particularly potent exchange:

Pat: You’re crazy.

Tiffany: I’m not the one that just got out of that hospital in Baltimore.

Pat: I’m not the big slut! (Tiffany stops running.) I’m sorry. I’m sorry. I’m sorry.

Tiffany: I was a big slut, but I’m not anymore. There’s always gonna be a part of me that’s sloppy and dirty, but I like that, with all the other parts of myself. Can you say the same about yourself, f***er?! Can you forgive? Are you any good at that?

Later, Pat witnesses several men hitting on Tiffany knowing her scandalous reputation. Pat begins to defend her, telling them to back off because she’s trying to get better. In one pivotal scene he blasts a sleazy suitor in front of Tiffany’s parents, Tiffany hiding inside.

Pat: …Sometimes it’s not [okay] because they got a broken wing, and they’re hurt, and they’re an easy target. And in this case, in this particular case, I think that wing is being fixed. And you gotta make sure it gets mended. And you’re getting in the way of that right now, okay? Because she’s sensitive and she’s smart, she’s artistic. This is a great girl and you gotta be respectful of that. Come on. Let me walk you back to your car. You’re a better guy than this. I can see it in your eyes.

As the rest of the raw reality of life sets in throughout the movie on the way to its authentically feel-good finale, there are powerful instances of self-sacrifice, grace and, from that grace, self-realization. Tiffany continues to learn from her past. Pat slowly learns that the idol of his old life is an illusion that is holding him back.

Each character slowly learns how to love the other, and because they are so obviously flawed (and not consciously trying to change each other), there is something genuinely unconditional that happens. By the time the final dance competition sequence ends and our complex characters have fallen in love, we are smiling because we know the whole story, and what it took to get there.

The ultimate silver lining turns out to be grace.