The Pope Of Greenwich Village Tamil Pdf Download

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Original Title: The Pope Of Greenwich Village

Genge: Action,Comedy,Crime,Drama

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Charlie and his troublesome cousin Paulie decide to steal $150000 in order to back a "sure thing" race horse that Paulie has inside information on. The aftermath of the robbery gets them into serious trouble with the local Mafia boss and the corrupt New York City police department.
"Little Italy" in New York: Charlie and his cousin Paulie aren't lucky job-wise. Charlie is cool, but Paulie's maroonic behavior constantly brings them in trouble. Then Paulie comes up with the idea to rob the safe of a small company. Together with a safe expert they go for it. However the $150,000 they get are hot: it belongs to the mob and was intended to corrupt the police. The mob only knows the name of the safe man, but they try very hard to find the rest of the gang, too...
Eric Roberts and Mickey Rourke make an unforgettable pair in Stuart Rosenberg's film (by way, in part I've read, of Michael Cimino), because they both take skills they've picked up as actors and applied them wonderfully to two roles that bring out their best. They play, essentially, a version of the Mean Streets characters ten years later: one wants to go straight in the Little Italy world they've grown up in, have a legitimate business like a restaurant, maybe start a family or settle down with his girl, and is a good guy - except, of course, for the 'black sheep' in his cousin who's a waiter sometimes, and also has other schemes going on like owning part of a racing horse, and gets himself into some very deep, hot water with local gangsters.

The story may sound familiar, but the performances make a very big difference; in fact this is essential viewing for those intense male actors looking to break into theater or independent films. Some have criticized Eric Roberts for going over the top as Paulie, but he imbues this character with a complete and unnerving (or just nerving) sense of desperation. Paulie wants to be good too, and one can sense that, but being on the streets have messed with his head past the point of no return; he isn't quite as "I-don't-give-a-bleep" like Johnny Boy in Scorsese's picture, but the same tendency to tick off the wrong people is right there. And watching Roberts go to town in some really big scenes, like when he comes back from losing his thumb or a more subtle and intense scene like when he's getting questioned by Burt Young's mob boss, he shows why for a short while he was a star (maybe not his sister, but close enough).

And yet one can't help but feel that for all of Roberts excellent work, for all of the superior supporting performances from Darryl Hannah and Geraldine Page (the scene where she tells the cops to get out of her apartment, holy hell is that fantastic), Young, the actor playing the locksmith, it's Mickey Rourke's time to shine. He had that quiet voice that one could tell could just crack at any second, and here he makes his tough guy in Rumble Fish look like a wuss; here one knows he could just erupt and go to town on someone, and does sometimes like on Paulie when the time comes (which is relatively often), but Rourke's power is in what he holds back, or appears to be holding back. He came out of the same school of acting as De Niro and Pacino and it shows, as if he were (or rather still is) one of the most gifted of the pupils of the method, and even as he gives that smirk or has a deceptive twinkle in his eye you just know he's got this character so damn down. He could wrestle with Keitel (no pun intended) and it would be hard to say who would win for pure on-screen chops.

The story, I should add, is also very good, one of those very tightly constructed morality plays in the guise of a film-noir that operates so strongly because it doesn't make anyone too black or white- even the detective, who meets his sad end down an elevator shaft by accident, has a whole history that is developed perfectly in just one scene with his mother, and so he's no more or less unsympathetic than Paulie. It also ends in a peculiar way: after the volcanic climax, which comes as something of a surprise, it just shows Paulie and Charlie walking down the street, and the camera rises on a note of uncertainty. It is not quite as open and shut as Mean Streets might be, but it has its own level of doom: these two guys probably wont be able to rid each other of one another unless there's death, or worse.

Some slightly dated 80s music notwithstanding (some of it weird synth Irish music), The Pope of Greenwich Village is exciting, occasionally funny, and gives all in the audience a taste of delicious New York style film acting. Everyone's on their A-game, and for a brief moment it looked as though the two stars could go anywhere with their careers... Nobody would accuse this tale of being taut. It meanders around sufficiently that we get to know the characters, their families, their values -- and therein lies its charm. Eric Roberts is Pauli, the reckless Italian optimist, and Mickey Rourke is his more sensible, principled Irish cousin. The milieu is New York City and it is captured most impressively. These two street proletarians -- waiters and busboys -- ooze with the desire to own a Coupe deVille. Roberts brags that he never ordered a brandy that wasn't Courvoisier VSOP. Their ambition and their taste are palpable. I say this despite having grown up in the area without the slightest desire to live their life styles and lacking any intense affection for Frank Sinatra.

Basically, the plot is a cross-cousin of "Mean Streets", with Rourke in the Harvey Keitel role and Roberts as the maniacal DeNiro. Not to suggest that this is an imitation of anything else. The writer, Vincent Patrick, has street lingo down pat, even to the smallest parts, and Stuart Rosemberg has executed it flawlessly. Even "mozarella" comes out properly as "moozarell." The two cousins alternately joke and fight with one another, depending on their position on the regression line between Robert's wild schemes and Rourke's more banal impulses. Roberts puts a "horse physic" in the drink of a ruthless cop. He engineers a lucrative burglary with the help of Rourke and a locksmith, Kenneth MacMillan, that results in the accidental death of a corrupt police officer, Jack Kehoe, whose only motive for being corrupt was to make enough money to move him and his sickly mother, Geraldine Page, to Phoenix in order to improve her health. (As I said, the script meanders, but meaningfully.) Geraldine Page gives a fine performance, by the way, as the self-destructive tough-as-nails street-savvy Mom.

The money from the burglary belonged to the neighborhood Mr. Big, a villainous and revengeful Burt Young, who forces MacMillan to leave his family and blow town. He also removes one of Eric Roberts' digits. And just as he is having a duel of wits with the third party to the crime, Rourke, Roberts feeds Burt Young a cup of espresso filled with lye. The poisoned Young leaps through the storefront window and runs off down the street. The last shot has Roberts and Rourke strolling off, carefree, down the street, arguing about whether it would be better to live in Miami. That's a bit of a weak ending. Given Burt Young's vengeful nature and his position in the organization, I wouldn't give two cents for either of their well-clad behinds. If they wind up as lowly waiters again they'll be lucky.

Well, I suppose I've made the film sounds like a terrible tragedy, but it's not. The street lingo and many of the incidents make it as much comic as anything else. One of Roberts' schemes has to do with betting a bundle on a horse that absolutely cannot lose. But Roberts' knows as little about racing as he does about keeping out of trouble. He's confused about which part of a stallion must be removed to turn it into a gelding. He's concerned about the colors of the jockey because it makes him look like a fairy. Roberts bets the whole shebang on a win, and the horse loses in a photo finish. The more prudent Rourke has made twenty large by betting on the horse across the board.

It's a pretty good movie, full of well-drawn colorful characters and considerable suspense and humor. There are some funny lines in The Pope of Greenwich Village. Once the eye knows the characters and the ear gets accustomed to the filthy (and somehow quaint) street slang, Rosenberg keeps the pace entertaining. [22 June 1984, p.D8]

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