Transcript

Carlito's Way · Citizen Frame

0:00
Music.
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Why, you ain't coming in?
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Okay, I'm coming out. Are you up against me now, motherfuckers?
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I'm gonna blow your fucking brains out.
0:46
You think you're big time? You're gonna fucking die big time.
0:47
Music.
0:57
You ready?
1:02
Here come the pain,
1:07
hey everybody welcome back well blip blip blip hey everybody welcome back to
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another exciting episode of citizen frame we're continuing our mini retrospective
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of brian de palma el pacino martin bregman produced films gangster films specifically.
1:28
After the success of Khalid, more of a cult success,
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modest success of Scarface, the team decided to get back together and do something
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a little more, not as batshit crazy. More grounded.
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More grounded. And this was Khalid goes way. I remember seeing this in the cinema. I fucking loved it.
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It is based on the book by Edwin Torres.
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The books are called After Hours and Carly Goes Away.
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And the script is written by my favorite
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screenwriter David Koepp who did this that's right
2:03
Indiana Jones all of them so piss off I love Indiana
2:05
Jones well besides Raiders I don't think he did Raiders
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a lot of Spielberg called Jurassic Park he did War of the Worlds but mainly
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he's directed two wonderful films called Stir of Echoes and Secret Window Stir
2:18
of Echoes yeah on Secret Window I both really liked yeah so this guy I love
2:24
to see his work I love to see his name on anything but he's in charge of writing this bad boy,
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and we got Pacino back and we also got you know some other guys back that's
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right Chi Chi he'll have a part Hector the Toads,
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Puerto Rican cousin pops up it's the same actor playing a role a very small
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role same as Chi Chi yeah we got we got a couple of them got a couple of them
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just more just more just more nod to the hatch really I think Yeah, I think so.
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And rather than really, you know. They're not fake phones.
2:56
Yeah, I think it's just for fun to let people know, hey, it's the same team
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did Scarface. Yeah, exactly.
3:02
So, yeah, this was a big hit. This was a hit. This was well-received, box office gold.
3:08
So, it definitely found his footing, whereas Scarface took a while to find his footing.
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But the film is really about the opposite of...
3:17
Of what Tony Montagna was trying to do. This is a man who is.
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He rose to fame, went to prison, found himself spiritually or whatever,
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and decided he could be living a good, clean life, and he's going to redeem
3:35
himself, and he's going to take a different path this time.
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Yeah, he wants to open a second-hand car business or something like that.
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Yeah. Basically, he wants to go straight. He wants to go straight.
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And all his characters that he's met when he was a badass come into play and
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they become his downfall. Totally.
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Especially the one man he thinks he owes everything to is a character of Kleinfeld,
4:00
played incredibly, by far his best performance ever, Sean Penn.
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Yeah. His loyalty to his friends and his past basically are his downfall.
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And his ego. A bit of that as well, yeah. And I think his ego is what kills
4:15
him. Because of Benny Blacko.
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And what he does to his little buddy, Pechanga, played by the guy I always like
4:22
to see, Luis Guzman. Yes.
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So let's just jump into it. We got, we got, she's a terrible actress.
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She should have stuck with a kindergarten cop. She actually,
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she almost destroys the film.
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Yeah, we'll get to it. Yeah. El Pacino as Carlito.
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I like that, Carlito. And this time he's out of Cuba, he's a Puerto Rican.
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Yep. You know, Big jump there, big lead.
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He's a man of many South American faces, let's just say, and he's Italian. Yeah.
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We got, always liked Sean Penn as Kleinfeld, John Luke Guzamo as Benny Blanco.
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Wonderful appearance by Viggo Mortensen, who plays Lolin. Luis Guzman as Pechanga.
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Then you got Steffi. You got James Reborn, who passed away not too long ago.
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Great character actor. He plays Norrock.
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The DA going after him. Then you got Sasso and Tony and Frankie.
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And that's it. That's our cast. The film starts off right away with just a wonderful
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sequence where he's almost like a child.
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And he's talking to the judge and he's just saying, thank you for this.
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But he's also giving him the finger at the same time. It's wonderfully written.
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There's an eagle there and he's giving the finger to the DA fucked up by illegally wiretapping.
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And so he gets away and the judge is like, God, dear God, why do you have to listen to this?
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And the whole opening scene, he's like,
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Yeah, he's a child with an ego giving the finger to the man.
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It just seems like that's what he's doing. I actually have a little bit of issues with this scene.
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I get that it's obviously fiction, but there's no way that I think that an actual
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judge in a court would allow him to have this speech.
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It's a minor thing, but I think he could possibly even be done for contempt of court.
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But yes, there's a bit of ego there and a bit of childishness.
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Yeah which which is funny because once he leaves
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the courtroom he's sensible he's sensible yes
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i know to a degree but it's
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ballsy because before we get the courtroom exit we see his death i see this
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is another thing i think it i mean i'm not it still works but the whole narrating
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from beyond the grave type thing i think would have been and even for dramatic
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purposes i would have preferred,
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personal reasons i would have preferred not to know that he dies and gets shot
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from the very start for the narration he's dying when he's narrating so he only does it that one time,
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he's he's kind of reflecting as he's dying yes but back on his life it's it's
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a ballsy move to show us that he's going to die yes i think it was a mistake yeah i agree you.
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We talked about with Scarface where De Palma didn't do De Palma-esque stuff.
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You know, it was three big tears.
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This one, he's got them massively.
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He's got the boat scene. He's got the incredible scene with his cousin coming up.
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And then we got the finale, which is brilliant. The subway chase sequence. Superb. It's superb.
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And we'll get into it further. But for that whole intense moment,
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as he's getting to the train, he's about to go.
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We already know what's going to happen You kind of pull the rug underneath us by doing that Exactly,
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and I do think it hurts it somewhat It does It doesn't kill it,
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but it certainly is a letdown It would have been even more intense,
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the finale If we didn't know from the very start, from the outset That Carlito's
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going to get shot and killed here, basically,
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Oh, spoiler alert, if anyone hasn't seen it. Well, you find out at the very start anyway.
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So, you know, that's sort of what we're saying. That's true.
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That's true. That's true. Yeah, I don't get the mentality for that.
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No, I think it hurts it somewhat, but it still is a great film and works very,
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especially the finale, which is fantastic.
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But it would have been even better without that. The narration's fine.
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The narration itself, I think, works very well. but the fact that you know that
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he's sort of narrating as he's dying, it's a big spoiler they give away for their own film.
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I think what they were trying to do was oh does he die?
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I'm like yeah come on this isn't an M. Night film.
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I mean he's going to die, there's no twist coming here.
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Yeah and again it's rise and fall of a gangster so you're pretty much no good
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indeed anyway that he's probably going to die.
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And they also They also show it's Benny doing it. Yeah, I know that there.
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Although you don't see his face.
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Oh, you know that's Sean Lucuzamo. I mean, clear as day. You can see his side
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face. On rewatch, you do catch it, definitely.
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Yeah, you catch it. The big twist is Bochanga is involved.
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That's the big one. Yeah. Okay, so we're in 1975.
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This is where this takes place in the 70s here. In New York.
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So, yeah, he wants to get clean, do his own thing. You meet all these different,
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you got Pachanga and Chi-Chi and Wilberto. We meet all these three.
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Pachanga is going to be pretty much his right-hand man, which is played by Louis
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Guzman. Yep. And then we meet his little cousin.
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It's a nice blend of meeting all these little characters, and it's quickly done.
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It sets things up well. To let them know, I'm done. I'm not going to do it.
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You talk to Wilberto, who's pretty much a mob man.
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He tells him, I'm out. and they actually leave him alone.
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If you notice the guy, because Roberto is the man he went to prison for and didn't say anything.
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That's right. So, Roberto has respect for him. He's not going to try to take him out.
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And quite frankly, everyone respects this man so much, he was ready to go. He'd be fine.
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But it's his lawyer that will be his downfall.
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And a couple of other mistakes. Also the fact that he needs this money to get away.
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And, you know, so it's like the whole sort of one final job you know sort of
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thing and also again loyalty to friends and family even at the start with his
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younger cousin bit of greed there well it's not so much greed because he does
10:40
need the money because he just wants to start afresh with this sort of legit business.
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Well he doesn't know about the money yet we'll jump into that he benefits from
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what happens to his cousin but the whole thing is he wants to earn $75,000 so
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he's going to help run this bar that Sasso is running into the ground because he was gambling issues.
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Yeah. Do you see the name of the bar? The El Pericio? Yeah, like in Scarface,
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another reference. Scarface, that is the diner.
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Yes, that's right. That he first worked at in, I think that was called the El Pericio.
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Yeah, the Burger Van, basically. Burger Van, yeah, exactly. Yeah. Nice little nod there.
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But yeah, so this, again, going back to like a broken record,
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De Palma has these sequences and this is one of them.
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And the whole setup, he just knows how to build tension.
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The tension is so thick you can cut it with a knife and just the dialogue the
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guy in the toilet but we don't see it but he does our boy sees it Carlito I'm
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going to say Carlito the whole time,
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and he sees it so he's setting up the pool and he needs to set up this pool
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shot just so he can see in the guy's glasses from behind what's happening at
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the same time you got the other guy counting the money with his cousin oh look
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down there for a beer Now,
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what De Palma does so well, you know that cousin is being set up.
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Oh, no, put your hand down further.
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He's not trying to pull smoke and mirrors there with you. He's letting you know
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this kid's fucked. Yeah, and he is.
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Oh, what a horrible way to go. But-
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You find out that Roberto's going to get it, the old boss of our boy Carlito,
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and they're going to take his money and drugs.
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That's right, yeah. And they cut the cousin's throat, but he ends up going batshit crazy, Carlito.
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And it's a great scene because it's a scene where we needed something to see what he once was.
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Yeah. And this is the scene that does that. It sets him up as like a proper
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badass, but he's a badass who's trying to reform you know but.
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You take the character serious in terms of he's
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not a pussy you know he's not a pussy essentially he's so
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calm and collect where Tony Mantegna would have
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went bad bastard crazy and started knifing everybody exactly Tony
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was a hothead whereas Carlito is
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more calculating and he's clever and
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smart and thinks things out you know yeah like
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setting up the pool shot yes and then he
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runs into the bathroom he's out of guns about a
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bullets but he says here come the pain here come the
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pain famous line and he runs out everyone's gone that's right yeah yeah i did
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the police sirens come as is a trope for basically all films when a shootout
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happens you know but he gets away he gets the money exactly and that's where
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he's able to put that's where he tells Matt Kleinfeld,
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I don't want to be the manager. I'm a partner.
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I'll put $25,000 in. And that's where he gets that money to be able to get himself
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closer to where he wants to go. Yes.
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Yeah. It's bittersweet. It's a bittersweet issue is what just happened. Yeah.
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But the homogenous violence, it's almost like operatic. I mean, it's brutal.
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But at the same time, it's beautifully executed, pardon the pun.
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Yeah. when he shoots that fucker in the cheek and the guy just sits there and
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pauses for a second as he's sitting there realising he's been shot in the face,
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it's fucking hell yeah, with the Palmas sort of, certainly Scarface and Carlito's
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way, there is an operatic sort of element to them, including the violence,
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you know, and the general storyline,
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including the romantic interests,
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you know, which again, I have an issue with here and this one as well.
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But you know, with Penelope, but yeah And we'll get to that Very soon I'm sure,
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Seeing where he first meets Benny Yes When he goes to this new Establishment Club Yeah.
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He treats him pretty disrespectfully. Now, you don't like Benny right off.
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He's a little amateur punk.
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And he tells him that, actually, in the further conversation he has down the road.
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But this is where I think he has his downfall. He pays a lot of respect to the
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people he worked with, but he doesn't respect people that are up and coming.
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I know that. And actually, a lot of that is mentioned in dialogue from Carlito,
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where he's basically old school. and he says things like, you know,
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the streets have changed since I've been, even in the narration,
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he says the streets have changed since I've been in prison.
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There's no loyalty anymore. These kids are just punks.
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He basically has an issue with the younger generation.
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So he knows. But that's his downfall. I see, yeah, it is.
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He needed to be more reserved. Yeah. Like he is with the people he respects.
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Mm-hmm. If he did that, he wouldn't be in the situation he gets himself into.
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And I would also say, he's actually a bit delusional, because don't think that
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back in the day, the good old days of, I don't know, 50s, 60s gangsterism, there was much loyalty.
15:47
It was still dog-eat-dog, you know? So there is that sort of misplaced nostalgia
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by him, and like you say, it's his downfall.
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What I liked about this film too, it got rid of the cliche where this guy wanted
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out. Yes. Right. He wants out, leave me alone.
16:03
And usually in the mob cliche, it's you never get out. You get out when we say you get out, right?
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Yeah. They didn't do that. They didn't Hollywood that up. They kind of kept
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it. You know what? You've done your service to us. You didn't snitch on us. You're free to go.
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Yeah. Or another sort of cliche is where he has to pay to get out of the mob.
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Oh, he's not mafia anyway. Puerto Rican but yes,
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there would be sort of certain sort of gangster type gangs who would make people
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like him pay to get out but no they're sort of loyal to him in that respect
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where he did his time and he didn't snitch on it.
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And, you notice they never told you what he did? Yes, that's right. Yeah.
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I thought he was a hitman. I thought that was really good, actually,
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because it's left open to interpretation, because I think if you had it told what he did,
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it might have maybe taken away from the character or the audience sympathies
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for the character in terms of, like, say he was a killer or whatever.
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Like we discussed with, actually, strangely, the Shawshank Redemption,
17:08
whenever you know about some of the
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crimes that some of the more likable prisoners did it sort of, you know,
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Cain detailed them more in his novella but they sort of hold back with Red what
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he did in the film so you have more sympathy for him so they sort of do that here with Carlito,
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yeah we meet Gail yeah,
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she's annoying as fuck she's not, nothing is I liked her like the relic,
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and kindergarten cop kindergarten cop she's that's her but come on this she's
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bad in this you needed somebody else that had you almost needed you needed a
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Michelle Pfeiffer in this yes yes the character herself.
17:54
Isn't very realistic I don't think in terms of would she really be like this
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big ballet dancer although she's actually a stripper you know I don't know why
18:04
I just didn't buy the character there.
18:06
Well, I know, but it kind of works then because she isn't a ballet dancer.
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Well, she is. She teaches here and there, but she's mainly a stripper.
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Yeah. She gives him false information, obviously.
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Yeah. But I don't like her.
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I just, she's just kind of there. And if you had, if you took Elvira's personality
18:26
and you put it into her, that would make more sense.
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Elvira has a sort of typical Scarface and almost larger than life personality
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and she's quite catty and she sort of gives Tony Montana a lot of shit back.
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Here, this character just becomes a bit of a fucking killjoy.
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Anytime these two are together, I hate it.
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And I have to say as well the whole, you are so beautiful to me.
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It's just like, fuck me. here we
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go it really ruins i get it becomes
19:07
melodramatic and soup opera-esque you
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know and it sort of kills and not
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completely because this is a great film but it's in
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terms of it sort of kills this sort of drama
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the intensity of the drama and carlito's sort
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of journey whenever you're having you know you are
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so beautiful and she's there with her fucking resting bitch
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face you know constantly and it's just
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uh it's you know it does
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work in a way but not for me personally you needed her you needed her at the
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end um to go with him but you didn't need her in the whole film like you have
19:47
her i mean there's scenes that are just dragged out like you could have cut
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yeah and you could have an up-and-coming actress have her play the part and
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then maybe you have a scene where.
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When he goes to Norwalk and Norwalk asks him, snitch on your buddies and we'll
20:03
let you walk, he won't do it.
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And so he's in the cab with her. He runs out, gives her the tickets. This is our plan.
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You can just have the first scene when they met, maybe another scene quick for
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lunch or biscuits or something. I don't give a fuck.
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And then the taxi scene.
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That way he wants her back.
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Small little scene here and there.
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We're good to go. We'll see you on the train. I'll be there at 1130.
20:26
Yeah right gail should have
20:29
been stripped down pardon the pun because he's a stripper but she
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should have been stripped down or removed completely because
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or and i hate saying it you needed a better actress who could sell this yeah
20:41
i mean yeah i think the character as well is just the way she presents herself
20:48
is a bit too classy to be number one a stripper and also a gangster's mall.
20:53
That's the problem. That's the problem. You're right there.
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She thinks she's classy but she's not.
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She's trying to be someone she's not. And that's her problem.
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I didn't buy the actor herself as a gangster's mall and a stripper.
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I didn't believe her as a ballet dancer ex-mom girlfriend stripper.
21:19
I think it's badly you've written in terms of character of all these characters
21:26
all these characters are so well written this one is terrible yeah.
21:33
And also I have to say the performance of her is irritating it's not that it's
21:38
a bad performance it's just an irritating performance for me stick to fucking
21:43
kindergarten cop you know,
21:46
with big arny yeah.
21:50
This is a danger with stuff like this with the melodramatic stuff at the end
21:55
sort of with the scenes with her sort of edges into made for TV territory,
22:02
well it's the problem I have with it and your eyes are so beautiful perfect
22:07
is where I roll my eyes yes and Carlito's way you don't roll your eyes it's
22:13
not that type of film in Scarface in Scarface I never rolled my eyes no so do
22:18
not give it to me for Caligo's Way.
22:20
It is very damaging to the film. I'm going to say that.
22:24
It's still a great film. Yeah. It's getting a massive fucking pass.
22:27
It's in my top four Pacinos of all time.
22:31
So, and if anyone wants to know what my top four are, they're Ascent of a Woman.
22:36
Log Day Afternoon, and Justice for All, and Caligo's Way.
22:40
Heat would be up there as well for me. Ah, Heat would be up there.
22:44
Yeah, I got to see that one. That's another one. Yeah.
22:45
And Donnie Brasco. Ah, man, he's got more than I thought.
22:48
Yeah, there's quite a lot to sort of, but no, regarding this,
22:53
it's sort of, in many ways, it feels like 90s shoehorned in sort of romantic interest.
23:01
We had it with Tombstone. Remember we discussed the scene at the end,
23:04
the Christmas scene at the end of Tombstone?
23:06
It has that sort of feel about it, which it takes away from it in terms of,
23:11
it does feel like a studio note and just feels a little too melodramatic.
23:16
And what am I watching here I'm caught It distracts from the main story That
23:23
you're really caught up in And it's really gripping actually,
23:27
We jump into, again, the way he treats Benny. Yeah.
23:33
Kleinfeld's fucking Stephanie, which is, at the time, Benny's girlfriend.
23:39
He sends back the champagne.
23:42
These are all things he shouldn't be doing. If he wants to keep it straight
23:46
ahead, he's being a dick.
23:48
And this, again, ego. This is his part of his ego. Yes.
23:52
Where he refuses to deal with the younger turf, I guess, the younger gangs,
23:58
which he does make clear why.
24:00
But at the end of the day, he's playing it so smooth and cool. He needs to play.
24:05
You're not God here. He needs to keep the head down. And even Pajanga and I
24:11
think Chi-Chi was in the scene.
24:13
Chi-Chi. I can't remember the character they gave him. Chi-Chi.
24:18
And they say, we need to kill him. Yep. We need to kill him. And he refuses to do it.
24:25
So I got confused because here's a guy who's doing everything right.
24:31
He wants to get a clean up, but he's treating some of these characters like
24:36
dog shit that can come back and bite him in the ass real fast.
24:40
But yet, I don't know, there's a lot of... From a logical point of view,
24:45
it's a very stupid decision not to kill Benny, right?
24:48
But also, I mean, it even stays in the narration.
24:51
You know um during this scene he
24:55
says it's basically he puts it down to the older
24:58
me would have killed him straight away but i'm trying to change i'm
25:00
trying to move on but looking at it logically it's
25:04
an extremely stupid decision oh it's stupid decisions
25:07
all around the way he treats benny instead of
25:10
keeping the head down but also that's that's it but also not killing him well
25:14
you wouldn't have to be put in that situation if you just shook the guy's fucking
25:17
hand and bought him a free drink exactly exactly that's it but yeah so there's
25:22
basically two stupid decisions here the way he treats benny and also the fact
25:25
that he doesn't kill him and,
25:28
it's all led up to this dumb fuck klinefeld which leads us up to he stole a million dollars from,
25:36
tagliocci yeah he's got to get
25:38
him he's got to get him out of prison with his son frankie and now he's.
25:45
Pacino, Calito, to help him get this guy out of the water after he escapes from prison.
25:49
And he even says in the film, I owe you, I'll do it.
25:53
I'm right or wrong. I can't change that. You know, I will I owe you. Yeah. And I will do it.
25:58
It's a nice scene where he finally lets his guard down and say,
26:01
hey, I owe you. Let's get this done.
26:04
You saved my life from prison. Blah, blah, whatever.
26:07
Sean Penn is absolutely fantastic. But at the end we were talking on the previous
26:11
podcast about, you know, the humanizing of Tony Montana, which didn't work.
26:14
But here, there's a scene, after he comes out of the prison,
26:18
after, you know, he's basically forced into doing this prison escape for Tony
26:22
T, where Sean Penn, his character, Dave, realizes that he is fucked, and he's in way too deep.
26:29
He vomits, so he does. You see him vomiting, really, you know.
26:34
But after that, he's a total, you know, a total asshole.
26:38
Like, he's... That's what's great about his performance, he was nominated for the Oscar for this and.
26:47
His emotions are so up and down because he's cooked off his head and he's a
26:51
nut job anyway and he looks he looks like Napoleon Dynamite's dad,
26:59
in the 70s here's the problem he's a coward and he's using his friendship with
27:06
Carlito as his shield and he's totally addicted to coke as well he's basically like,
27:14
in many ways he's the Tony Montana of this film but like a shit sort of,
27:20
receipting her line curly herd lawyer version of him.
27:26
And then once Kleinfeld fucks over Calito again by killing Frank and his father Yes,
27:35
Right there, Carlito goes, we're dead Yeah, yeah It's over No,
27:39
he just says, we're dead There's a brilliant couple of lines of dialogue where
27:43
Carlito says to him Here he goes, oh,
27:46
you have crossed the line You're no longer a lawyer, Dave You're no longer a
27:50
lawyer You're a gangster.
27:52
And it's just perfect sort of
27:55
dialogue for that scene and also for the two characters well
27:58
mainly for the Sean Payne character so it is he's crossed a line and they're
28:03
all fucked now they're all snookered yeah one of small moments of intensity
28:09
set one of the big scenes that we'll talk about the hospital scene that whole
28:13
sequence coming up is incredible it's a master class but.
28:17
But it's a scene where small little tension moment where Kleinfeld's in his
28:22
office, he gets a phone call, oh, you can come down to the parking lot,
28:25
there's something wrong with your car, blah, blah, blah. He's such a stupid bastard as well.
28:28
Yeah. But you hear the music escalating further, and the elevator's getting
28:34
a little crowded, and you see this guy get up from the chair, he's got a newspaper.
28:38
Yes. He's obviously there to assassinate him, and obviously he stabs him in
28:43
the, it was like a maybe two-minute, three-minute shot, but so fucking good. Yeah.
28:48
And it was just to get him into the hospital. and then we get the big finale,
28:52
which we're about to talk about, which I think is just a masterclass in filmmaking and intensity.
28:59
This is De Palma at his best.
29:02
I agree. De Palma did a scene, and he said he deliberately took this from one of his best movies.
29:08
It's called The Untouchables. The Untouchables, yes. The author's one,
29:10
yep. Yeah, there's a train sequence in there. Yep.
29:14
That is so intense. I know it well, yeah. And-
29:17
And that's what he was doing here. But he wanted to get you to the train sequence.
29:23
But in order to do that, we had to get him out of the hospital.
29:26
Oh, it's so good. All learned. It's a masterclass of tension and editing and everything.
29:33
It just works so beautifully well, including, obviously, then we'll get right
29:37
up to the very end with the shootout and stuff.
29:41
And I love it. You know what's very intense as well?
29:44
The whenever the mob guys go to the nightclub and
29:48
they're trying to suss out if carlito definitely was
29:51
there you know and you've got tony t's other son um you know who's basically
29:57
completely fucking you know sort of out for revenge you know fueled with complete
30:03
rage really well played and um there's a big heavy guy and then there's the
30:07
other one with the very uh 1970s mobster moustache,
30:12
but this is a really intense where they're trying to suss him out and he says
30:15
well yeah I mean that whole scene when you're talking about the son the big
30:19
bodybuilder guy yeah he knows Tony's involved because when he's going to the
30:25
hospital to kill he knows he's done,
30:28
and then he sees Carlito there that's right before he goes takes the hit and
30:33
Carlito sees him he even says there's no way that's a cop you can tell yeah
30:37
that face doesn't fit that uniform him?
30:40
That whole sequence when he's talking to the counselor, again,
30:43
the counselor's unforgiving. He's a prick, doesn't care.
30:47
But what we don't see is that he's removing the bullets.
30:50
That's right. And when he goes in to assassinate him and he's narrating him,
30:55
he obviously gets shot in the head.
30:57
The last words he says, Puccino's adios counselor.
31:03
Yeah. As he throws away the bullets in the basket. And then he goes to the bar.
31:07
He's got to get to the bar and there's a little hidden room.
31:10
He's got to leave, get the money, get to the, underneath this little trap door
31:12
in the bar, go to the subway, subway to the train station.
31:16
This whole sequence is just wonderful. Yeah. Absolutely wonderful. Yeah. I can't.
31:22
And then you got, and he's got little jokes in there. Yeah. You got this big
31:27
fat goon, this big fat bastard. He's out of breath.
31:30
Yeah. They're all, they're all running through this train station.
31:32
I'm getting out of breath just watching them. and then he finally comes out he finally shows up like,
31:39
30 minutes later, he can't play catch-up. But he's the one who catches Carlito.
31:43
On the escalator? He's the one that sees him? Yeah, he goes,
31:46
I found him. The one guy who did nothing to help.
31:49
Finally shows up and goes, found him. There he is. Yeah. The bloodbath starts going.
31:54
But this whole sequence of him hiding and going down the escalator and he's
31:59
pointing the gun up as he's lying on the escalator floor.
32:03
Even though I had seen this before and knew how it was going to play out,
32:08
I mean, it even tells us right at the very start how it's going to play out, Carlito getting shot.
32:13
But even though I'd seen the film before, I still found it totally gripping
32:19
and extremely intense and really exciting.
32:22
Well, we talked about that with Shawshank. Even though we know the ending,
32:26
we know Shawshank, they're going to get together at the beach and I'll be besties, blah, blah.
32:30
But every time you watch it, you're still intense because you don't know if
32:32
they're going to make it. Are they going to see his friend? Well,
32:35
we know he is. And that's great.
32:37
And maybe that's what DePombe was doing. Yeah. It's good. He was. Yeah.
32:43
I mean, that's how good he is. He's given us the ending already,
32:46
which we should be all upset about.
32:48
But this thing is so intense. Maybe we're like, oh, maybe that beginning wasn't
32:51
cheap. Maybe that didn't really happen.
32:53
I think whenever I first watched it, the one that, you know, he's going to get shot.
32:58
I think around this time, you know, this scene, this finale,
33:03
I was thinking, well, who's going to be the one who's going to shoot him?
33:05
Or what's going to happen? Or will he get shot and will he survive?
33:08
You know, that type of thing. So it does work then, you know, in that way.
33:13
Just maybe not in the way I would have preferred it, but who the fuck am I?
33:17
It's not made for me, you know?
33:19
So, yeah, I mean, even though we know that, the fact that this works so well,
33:24
even though we know Carlito's going to get killed, it makes it even better.
33:28
And then even after all that, he does get taken down.
33:35
Then we find out Bochanga is the one who set him up. Yeah. And that's the big
33:39
shocker right there. And he goes, and Bochanga actually makes a good point.
33:42
He goes, what was I supposed to do when you leave? I know.
33:45
And he's like, he was so blinded. Yeah.
33:49
Yeah. He was like, well, he was so blinded by getting him and Gail out of there.
33:53
And in a way, the one guy who had his back this whole time was Bochanga.
33:58
And his real friend was the one he portrayed. His real friend.
34:01
And he was going to leave. Yes. And just leave him hanging. After you caused all this ruckus.
34:06
And so he had no choice. Yeah. Again.
34:10
His ego, his tunnel vision is what killed Carlito at the end of the day.
34:15
Yeah, that's his downfall.
34:17
It's sort of a hubris.
34:20
Again, there's the whole sort of Shakespearean. You're a big word.
34:23
Well, it's a whole sort of Shakespearean thing.
34:25
The whole sort of, I'm not trying to get all artsy-fartsy, but the whole sort
34:28
of hubris, his downfall, the whole keen layer thing.
34:32
There's a great exchange, actually, where after Benny's killed Carlito,
34:37
where he turns to Carlito's best mate, and you know
34:39
he's saying you know i had to think of my own future carlito and
34:43
he says um he says come on he says to benny come on
34:46
let's go and benny proving that he's a real fucking snake he goes now you can
34:50
stay here and then shoot him dead you know so he does i think the only one that
34:55
survived here is actually benny and obviously gail sadly you know no doesn't
35:03
so doesn't social make it?
35:06
Yes, I think he does. Yes, you're right. Yeah, he does. Yeah,
35:09
but he's a dick. No, but yeah. But yeah.
35:13
Yeah, he won't last with his gambling debts. Exactly. Exactly.
35:17
Yeah. He'll be pumped off by the bomb anyway for his gambling debts.
35:21
He's as good as Tom. This is far superior than Scarface, but I'm going to say this.
35:28
I think they're two different films. I was just going to say that.
35:31
I think one is almost like a fantasy.
35:37
Cocaine-fueled fantasy. Yeah, told through the eyes of some truth,
35:43
some half-truths of real life, fictional, non-fiction, whatever.
35:46
All these clusters of characters, and it's just this colorful fantasy of violence.
35:51
Yeah. And that's what Scarface is.
35:53
And with this one, it's more grounded
35:55
and real-based. They're two very different films in terms of tone.
36:00
Yes, obviously, they're both about the rise and fall of a gangster played by
36:03
Al Pacino with Chi Chi and the gang throw it in but essentially in terms of
36:08
tone and that's obviously intentional from De Palma in terms of tone they are
36:12
very different films so you can't really compare them,
36:15
well there you go now it's time for Halloween month and a half oh yes yeah alright
36:23
we've got Baba we've got Frucci.
36:29
Frucci what's Frucci Lucho Frucci Yeah.
36:32
Arzento. So we're going to hit the Italians. Yep. We got Carpenter.
36:36
We got Scott Derrickson coming back.
36:39
I can't remember what else we got. Well, we got some stuff coming your way for
36:43
Halloween month and a half.
36:45
You were talking about Ed Wood as well? Are we doing Ed Wood?
36:49
There was talk of it. We'll see. I'm sure we'll do it at some point.
36:52
I don't think it's on the list. No, it's not.
36:54
We'll probably do it at some point. Halloween month. But it's not Halloween
36:58
month. It's Halloween month and a half. So we've got a wiggle room there.
37:02
It's going to be Halloween two months and then Christmas. Yeah,
37:06
well, as previous years, you know, it usually ends up Halloween two months and
37:11
then just straight into fucking Christmas and Hallmark and Silent Night, Deadly Night.
37:16
Yeah, so we got that Halloween month and a half and then we got Christmas and then the new Scream.
37:23
That's right. That's January, I think. February. February.
37:29
We'll probably do a small horror retrospective before we get to it.
37:32
Final Destinations? Whatever happened to those? Anyways.
37:37
Oh, we'll get to them. Oh, yeah. They're soon.
37:42
The plan's been done.
37:47
All right. We'll wrap this one up. Tired. Going to go watch United play.
37:53
That'll make you more tired because they're terrible.
37:55
Well, actually, there's signs of life there.
37:58
Signs of life. And then NFL weekend. And NFL, as you all know,
38:04
over here, but not over in the States.
38:06
NFL starts over here now. It's in Ireland. So the Vikings are playing the Steelers.
38:11
Okay. So we get our NFL game at 2 o'clock in the afternoon instead of 6 o'clock at night.
38:16
Yeah. It used to be, it was like in the middle of the night,
38:19
they used to show American football games back in the 80s. Well,
38:21
American football game's wrong at 6 p.m., which is because there's a five-hour difference. Yeah.
38:26
So the game's kickoff is 1 o'clock over the air. It's 6 o'clock p.m. our time.
38:31
But because they're playing the next month in London and in Ireland, it's our time.
38:36
Okay. So we get those games now early at 2 o'clock.
38:39
Right. Okay. And then we play that, and then we turn on the game to the U.S.
38:44
Games that we want to see.
38:46
So a lot of NFL coming my way. Right.
38:49
Go Bucs. Yeah. I haven't a clue. I'm not even going to comment because I haven't
38:54
a clue about American football.
38:55
You know, it just feels a bit like futuristic rugby to me.
38:59
But... It's not... It's not... It's a lot rougher sport. Yeah,
39:03
well, I'm not into rugby, you know, either.
39:06
There you go. They're both good sports. Yeah.
39:10
That's all I have. We're done. Give us a shout at citizenprime underscore podcast
39:14
on Instagram and, of course, Facebook.
39:16
Give us a shout for all you listeners down there all over the world.
39:19
I can't believe all those downloads we've been getting.
39:21
Thank you, and give us a shout, or the finger, whatever you want. I don't care.
39:27
As long as you're listening, we don't care. Yeah, tell us to go fuck ourselves. I'm fine with that.
39:31
Tell Trevor to go fuck himself. I do it all the time. So feel free to join in. It does too. Yeah.
39:38
Do you know what's happened these last two podcasts? What? We haven't really fought.
39:44
Yeah, that upset me a bit. Yeah. We'll have to rectify that over Halloween.
39:48
Yeah. No Doctor Who. Oh, yeah. And no fucking Neighbours.
39:52
To be fair, it's pretty hard. Oh, I was about to say, oh, wait a minute. I was about to say that.
39:57
I was about to say, you've never said to be fair today.
40:02
And what's the last thing you fucking say on the podcast? Yeah, to be fair.
40:06
Well, to be fair, it is extremely difficult to make a connection with Doctor
40:11
Who and Scarface as much as I would love to.
40:15
In the other sense, you would have found a fucking way. But when you think about
40:19
it, there's not many Italians in Doctor Who.
40:22
No, no, definitely not. It's usually English. It's going to be English.
40:26
Yeah. I would like to see a cooked up Dalek or something, but yeah.
40:29
But that's just me. Yeah. Yeah. Probably make it more aggressive.
40:35
Useless bastards.
40:39
All right. I'm going to wrap this one up, guys. Take care of yourselves. We'll chat soon.
40:46
Music.