The film begins with the principal cast and crew credits flying in, in quick succession, one after the other. The credits are presented in white lettering against a black background, and they are punctuated by the sound of a car being driven. The car sound effect could possibly have been used in order for the filmmakers to establish, to the audience, a sense of where the opening scene is going to take place.
Then, a title card appears, presented in the same fashion as the credits (white lettering, black background). It reads: “This film is based on a true story.” This title card could have been implemented by the filmmakers in order to show the audience that this film is, first and foremost, based on a true story, and as such, the events depicted within the film are entirely believable and plausible and should be respected as such.
The opening shot of the film is of a 1967 Oldsmobile cruising down a long stretch of road at night. The car may have been used in order for the filmmakers to establish, to the audience, a sense of historical period (late 60s, early 70s). The long stretch of road at night may have been used in order to establish, to the audience, a sense of where this scene is taking place.
There then appears a title card: “New York, 1970.” This may have been placed by the filmmakers in order to reinforce the sense of historical period (60s-70s) that they were trying to convey.
We then cut to the interior of the car. Three people (all men) are in it. Two men (Henry and Jimmy) sit in front. The third man (Tommy) sits in the back, handling a shovel. These men are all dressed in sharp suits from the ‘70s. This, again, helps to reinforce the sense of historical period, and also the idea of professionalism and, arguably, camaraderie amongst the three men (they are all dressed the same, they do the same thing, they share the same ideals, etc).
There is then the repeated sound of loud banging, heard somewhere near/around the car. This is a cause of great concern amongst the three men. They all speculate over what it might be (i.e., a flat tire), and then they come to the conclusion that they need to pull over and see. The sound, and the character’s actions, may have been utilised by the filmmakers in order to indicate to the audience a change, or impending danger, etc.
We then cut to the car, which has been parked in a woodland area. Tommy and Jimmy are standing outside it, and Henry is walking over to them. The banging persists, and it is clear that the noise is coming from something (or someone) inside the trunk. This is reinforced when the camera dollies in on the trunk. The trunk (and, moreover, what’s inside it), is the key focus point in this scene, and the dolly may have been used in order to indicate to the viewer that what is in the trunk is vitally important to the overall piece.
The red of the car backlight shines on Henry, Tommy and Jimmy. This use of red could possibly in order to reinforce the idea of impending danger and bloodshed.
Henry is then told, by Jimmy, to open the trunk. He does. Inside is a man, wrapped in a white sheet. From what we can tell, the man has been beaten, is bleeding heavily, and is struggling to both breathe and speak. The decision to show this man, in this state, at this early stage in the film, could possibly be the filmmakers trying to shock the audience, and also, to indicate that this man, and the circumstances under which he came to be in the trunk, is of great importance to the overall story.
Then, the violence begins. Tommy stabs the man seven times, in cold blood, screaming “Die! Die! Fucking die!” Jimmy shoots the man four times, also in cold blood. The use of violence this early on in the film indicates to the audience that not only will this be a violent film, but that the characters themselves are also violent, and that violence is an accepted, or arguably, expected occurrence in this business of theirs.
Henry walks over to the trunk. As he does, we hear the immortal opening lines: “As far back as I could remember, I always wanted to be a gangster.” The use of the opening line not only confirms to the audience exactly who and what these men (and, in particular, Henry) are, but also that this film tells Henry’s story.
Tony Bennett’s “Rags to Riches,” plays as the title and the remaining crew credits appear. The use of this song (which is very upbeat and catch) may have been used to not only serve as a darkly humorous counterpoint to the violence that has just been witnessed, but to also fit in with Henry’s rags to riches life story.
Then, a title card appears, presented in the same fashion as the credits (white lettering, black background). It reads: “This film is based on a true story.” This title card could have been implemented by the filmmakers in order to show the audience that this film is, first and foremost, based on a true story, and as such, the events depicted within the film are entirely believable and plausible and should be respected as such.
The opening shot of the film is of a 1967 Oldsmobile cruising down a long stretch of road at night. The car may have been used in order for the filmmakers to establish, to the audience, a sense of historical period (late 60s, early 70s). The long stretch of road at night may have been used in order to establish, to the audience, a sense of where this scene is taking place.
There then appears a title card: “New York, 1970.” This may have been placed by the filmmakers in order to reinforce the sense of historical period (60s-70s) that they were trying to convey.
We then cut to the interior of the car. Three people (all men) are in it. Two men (Henry and Jimmy) sit in front. The third man (Tommy) sits in the back, handling a shovel. These men are all dressed in sharp suits from the ‘70s. This, again, helps to reinforce the sense of historical period, and also the idea of professionalism and, arguably, camaraderie amongst the three men (they are all dressed the same, they do the same thing, they share the same ideals, etc).
There is then the repeated sound of loud banging, heard somewhere near/around the car. This is a cause of great concern amongst the three men. They all speculate over what it might be (i.e., a flat tire), and then they come to the conclusion that they need to pull over and see. The sound, and the character’s actions, may have been utilised by the filmmakers in order to indicate to the audience a change, or impending danger, etc.
We then cut to the car, which has been parked in a woodland area. Tommy and Jimmy are standing outside it, and Henry is walking over to them. The banging persists, and it is clear that the noise is coming from something (or someone) inside the trunk. This is reinforced when the camera dollies in on the trunk. The trunk (and, moreover, what’s inside it), is the key focus point in this scene, and the dolly may have been used in order to indicate to the viewer that what is in the trunk is vitally important to the overall piece.
The red of the car backlight shines on Henry, Tommy and Jimmy. This use of red could possibly in order to reinforce the idea of impending danger and bloodshed.
Henry is then told, by Jimmy, to open the trunk. He does. Inside is a man, wrapped in a white sheet. From what we can tell, the man has been beaten, is bleeding heavily, and is struggling to both breathe and speak. The decision to show this man, in this state, at this early stage in the film, could possibly be the filmmakers trying to shock the audience, and also, to indicate that this man, and the circumstances under which he came to be in the trunk, is of great importance to the overall story.
Then, the violence begins. Tommy stabs the man seven times, in cold blood, screaming “Die! Die! Fucking die!” Jimmy shoots the man four times, also in cold blood. The use of violence this early on in the film indicates to the audience that not only will this be a violent film, but that the characters themselves are also violent, and that violence is an accepted, or arguably, expected occurrence in this business of theirs.
Henry walks over to the trunk. As he does, we hear the immortal opening lines: “As far back as I could remember, I always wanted to be a gangster.” The use of the opening line not only confirms to the audience exactly who and what these men (and, in particular, Henry) are, but also that this film tells Henry’s story.
Tony Bennett’s “Rags to Riches,” plays as the title and the remaining crew credits appear. The use of this song (which is very upbeat and catch) may have been used to not only serve as a darkly humorous counterpoint to the violence that has just been witnessed, but to also fit in with Henry’s rags to riches life story.
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