King of the Gypsies
Due to a lack of high quality competition, King of the Gypsies is still the quintessential American fiction film about modern day gypsies, that is if you're old enough to think of 1978 as “modern day” (while the best non-fiction flick has to be Robert Duvall’s little seen documentary Angelo My Love). Based on a novel by Peter Maas (Serpico), King of the Gypsies reeks of importance and epic pretensions; but besides the cultural curiosity what actually makes the movie worthwhile and totally entertaining is the ham fisted act-off going on up on the screen. From Elia Kazan’s A Streetcar Named Desire to Clint Eastwood’s Mystic River there’s a long tradition of method acting emoters chewing scenery and King of the Gypsies has its share of hungry thespians eager to chew. Heading the cast in his film debut the young pretty-boy Eric Roberts, pouting and brooding (but even under a teary-eyed tortured sulk the guy has chops and acts up a storm), doing what he can to keep up with his co-stars Susan Sarandon and Judd Hirsch who are totally over the top, with legendary ultra-hams Sterling Hayden and Shelly Winters nipping at their heels. Any film where Michael V. Gazzo (Frank Pentangeli in the Godfather: Part II) is an example of restraint in his one early scene, you know this is going to be some histrionic fun.
A New York and Pennsylvania gypsy clan is led by Zharko (Hayden); he claims to live like a millionaire who’s never done an honest day’s work in his life. The nomadic gypsies live without birth certificates, driver’s licenses, or paying taxes; they are proud crimin...
The all-time great director Sidney Lumet is often associated with his ear for the New York streets (The Pawnbroker, Serpico, Prince of The City). He's also acclaimed for his skill at balancing his films’ often loud histrionics (12 Angry Men, Dog Day Afternoon, Network). So, ironically, he hit a home run late in his career with a legal drama that actually gets its power through silence.
The film is written by a master of gritty verbal sparring, David Mamet. Upon its release in ’82, The Verdict instantly joined the ranks of the all-time great courtroom dramas — an elite company, with flicks like Anatomy of a Murder and Witness for the Prosecution. And the role of alcoholic lawyer Frank Gavin gave Paul Newman his best role in 15 years (at least since Cool Hand Luke in ’67).Continue Reading