Double De Niro Delight in ‘The Alto Knights’: A Sprawling, Rich Mafia Saga Reviewed!

When targeting a leader, ensure your aim is true.

This saying, often attributed to various figures including Ralph Waldo Emerson and Omar from “The Wire,” could very well be a guiding principle in “The Alto Knights.” This film is a rich and intense confluence of top-tier talent in the mob film genre, featuring “Goodfellas” writer Nicholas Pileggi, “Bugsy” director Barry Levinson, and the legendary Robert De Niro, who takes on a challenging dual role. This unique aspect of the film presents De Niro portraying both Frank Costello and Vito Genovese, mobster friends turned adversaries, complete with elaborate makeup.

The narrative begins abruptly in 1959 with a failed assassination attempt in the lobby of Frank’s New York building — a gripping scene that showcases Levinson’s mastery (a stark contrast to the recent disappointing effort by Francis Ford Coppola in “Megalopolis”). Frank survives, the bullet only grazing his scalp, and though he recognizes the gunman as one of Vito’s men (Cosmo Jarvis as “The Chin”), he adheres to the mob’s code of silence when dealing with the police.

Vito breaks a fundamental mafia rule by targeting another boss, and although retaliation is expected, Frank chooses a more calculated response, aiming to end his criminal career on his own terms. His methodical plan for revenge eventually exposes the mafia to the U.S. government and the media in a dramatic revelation.

“The Alto Knights” spans several decades, tracing the rise of morally ambiguous immigrants during Prohibition, a time described by Frank as an era of unwanted laws and reluctant enforcement. Starting under the employment of Charlie “Lucky” Luciano, they climb from the underworld to the upper echelons of the Cosa Nostra.

In a series of flashbacks, the film uses altered vintage photographs to deepen the historical feel, reminiscent of classic gangster films featuring De Niro, such as “Once Upon a Time in America” and “The Godfather Part II.” Initially, Frank and Vito share a brother-like bond, though Vito’s temper leads him to flee the country, leaving his business interests to Frank.

Distinguishing between Frank and Vito initially challenges the viewer, with Frank donning a prosthetic nose and Vito wearing dark glasses and a square jaw. Over time, De Niro’s portrayal helps clarify these characters, reminiscent of Tom Hardy’s dual roles in “Legend.”

Frank, always impeccably dressed, seeks legitimacy in his later years, branding himself a “professional gambler” to the corrupt politicians and police who support him. His life contrasts with Vito’s, who stays true to his rough beginnings and resents Frank for not sharing more power after his return. Pileggi’s script richly details their tumultuous relationship and the broader mob world.

In contrast to his earlier, more volatile roles, De Niro’s performance in “The Alto Knights” presents a more subdued yet still potent character. The film portrays aging mobsters, less glamorous and more embroiled in petty squabbles. Vito, in particular, remains combative, reacting passionately to public appearances by Frank.

A notable scene involves a tense courtroom exchange between Vito and his ex-wife, highlighting the personal stakes and dangers within their volatile world. Unlike “The Irishman,” which used CGI for de-aging, “The Alto Knights” relies on makeup and prosthetics, allowing De Niro’s performance to shine through, particularly in scenes where he confronts his own characters.