ma-cortes This picture is plenty of mayhem , strong stuff , drama and amount of gangland violence . A biography heavily influenced by Valachi memoirs and by interviews was written by journalist Peter Maas and published in 1968 as The Valachi Papers, forming the basis for this film . The flick deals with tough Joe Valachi (Charles Bronson) , he has a price put on his head by Don Vito Genovese (Lino Ventura) who is in prison and from there, he still runs his criminal empire . An unsuccessful attempt to slit his throat puts him over the edge to die . Valachi must take desperate steps to protect himself while in prison. Because of the bounty on his head from his own, a federal agent named Ryan (Gerald O'Loughlin) convinces Valachi really to be a mob informant in return for safety inside . Valachi tells a story that starts in 1929, when he was first imprisoned in Sing Sing . Valachi's criminal career began with a small gang known as "The Minutemen," so-called for carrying out smash and grab burglaries and escaping within a minute and subsequently as a chauffeur.I n the early 1930s, through mob contact Dominick "The Gap" Petrilli (Walter Chiari) , Valachi was introduced to the Cosa Nostra or Mafia, and soon became a soldier in the Reina Family (now known as the Lucchese Family) during the height of the Castellammarese War. Valachi fought on the side of Salvatore Maranzano, who eventually defeated the faction headed by rival Joseph Masseria (Sperli) . After Masseria's murder, Valachi became a bodyguard for Maranzano. However, this position was short-lived, as Maranzano (Joseph Wiseman) himself was murdered in 1931. Valachi then became a soldier in the family headed by Charles "Lucky" Luciano (eventually known as the Genovese Family), in the crew headed by Anthony "Tony Bender" Strollo (Leontini) .This landmark gangster movie is strong stuff , being dominated by the tenacious acting of Charles Bronson as the gangster of the title who follows his way venomously since a simple gangster , chauffeur until his prison as he breaks the sacred code of silence , the Omertá . Bronson captures the special excitement or mood of paranoia on Valachi role . Director Yerence Young's body-strewn look at the feud between Maranzano , Genovese , Masseria , Gaetano Reina , Lucky Luciano and other famous mobsters , but especially concerns about the informer Joe Valachi . This is a violence-ridden story full of action, drama, thriller , drama but being overlong . The notorious gangster Vito Genovese being splendidly played by Lino Ventura who makes a good character study of one of the most colorful mobsters of the history .In the film appears famous gangsters such as Salvatore Maranzano played by Joseph Wiseman , Gaetano Reina acted by Amedeo Nazzari , Albert Anastasia by Fausto Tozzi , Letizia Reina played by Pupella Maggio and Lucky Luciano performed by Angelo Infanti . Jill Ireland , Bronson's real wife , makes an appealing heroine , providing an elegant touch amid the 'macho'machine gun mayhem of the rest of the film . The motion picture is based on the book ¨Joe Valachi papers¨ and on real events , these are the following : ¨In October 1963, Valachi had testified before Subcommittee on Investigations of the U.S. Senate Committee on Government Operations that the Mafia did exist.Although Valachi's disclosures never led directly to the prosecution of many Mafia leaders, he was able to provide many details of its history, operations and rituals, aiding in the solution of several uncleared murders, as well as naming many members and the major crime families. His testimony, which was broadcast on radio and television and published in newspapers, was devastating for the mob, still reeling from the November 14, 1957 Apalachin Meeting, where state police had accidentally discovered several Mafia bosses from all over the United States meeting at the Apalachin home of mobster Joseph Barbara. Following Valachi's testimony, the mob was no longer invisible to the public. He was the son-in-law of Gaetano Reina, having married Reina's oldest daughter Mildred over the objections of her mother, brother, and uncles. Valachi's motivations for becoming an informer have been the subject of some debate. Valachi claimed to be testifying as a public service and to expose a powerful criminal organization that he blamed for ruining his life, but it is also possible he was hoping for government protection as part of a plea bargain in which he was sentenced to life imprisonment, avoiding the death penalty for a murder he committed in prison on June 22, 1962. While in prison, Valachi feared that mob boss Vito Genovese had ordered his death as a traitor. Using a pipe left near some construction work, he bludgeoned to death an inmate whom he mistook for Joseph DiPalermo, a Mafia member he believed was commissioned to kill him. (Valachi and Genovese were both serving sentences for heroin trafficking. After time with FBI handlers, Valachi came forward with a story of Genovese giving him a kiss on the cheek, which he took as a "kiss of death". In 1966, Valachi attempted to hang himself in his prison cell, using an electrical extension cord. On April 3, 1971, Valachi died of a heart attack at Federal Correctional Institution, La Tuna in Texas, having outlived Vito Genovese by two years. The $100,000 bounty, placed on Valachi by Genovese, went uncollected.¨

JasparLamarCrabb Charles Bronson had plenty of presence on the screen and was very effective in the likes of THE DIRTY DOZEN, DEATH WISH and a few others, but whenever he actually TRIED to act, his efforts were laughable. He simply could not act. THE VALACHI PAPERS may be his worst film. The director, Terence Young, shows absolutely no style or even a remote trace of caring (a large part of the film takes place in the 1930s but anachronisms abound --- there's a clear shot of the new in 1972 World Trade Towers, a 1970s era car speeds by the 1930s autos). Were the proper permits not secured to film this movie in NYC? Bronson gets little help in the film from the other performers. Walter Chiari is terrific, but he's certainly the exception. The supporting cast is populated with fine actors like Joseph Wiseman, Gerald S. O'Laughlin, Jill Ireland and Lino Ventura, but the dialog is so inane, they look foolish (Wiseman is particularly dreadful as Salvatore Maranzano, a crime lord who could not have been this dull). Aldo Tonti's cinematography is muddy and, as with most of director Young's work, the editing appears to have been done with a rusty razor blade.

birck I give this a 7 stars because it was made the same year as Godfather I, so it didn't benefit from all the film-industry wisdom that followed that production. Rather, this is a character study of one mafioso, which is a separate issue from the operatic, all-systems-GO no-holds-barred approach Coppola was able to employ in The Godfather. it's a smaller film, and should be compared to, say, Mobsters (1991), which deals with the same period and some of the same characters as V.P. Charles Bronson's Valachi is adequate. He's a workaday, uneducated, down- home mob guy, and Bronson plays him as if he were Polish, with a job that he goes to every day, where everyone talks Italian. Because it is through his eyes that we see his world, some of the other characters become more vivid, e.g., Joseph Wiseman as Salvatore Maranzano. When I compare the casting of the incomparable Joseph Wiseman in this role as opposed to, say, Michael Gambon in the same role in Mobsters, or Anthony Quinn as an equally old-school rival in the same film, I wonder: None of these actors are Italian -American or even simply Italian; why do some of them work, and the others don't? Granted that Wiseman, Quinn and Gambon are all consummate professionals and true craftsmen as actors, if anyone mentions Salvatore Maranzano and the Castellammarese gang war of 1929, the face that will come to my mind is that of Joseph Wiseman. He and Charles Bronson make this film worth seeing.

mike dewey "No fancy Hollywood hot-shots need apply for screen tests here", or so my audition sign would read back in the day when this was being filmed. A totally stark, un-gussied, realistic look into the sequences of events surrounding a mobster's life, with all the subtlety of a 3- day old, 30-lb. catfish on a fine linen tablecloth. The actors hired for this gig were probably hit men, dope dealers, pimps, etc. themselves. If not, they looked as close as you can get to the real thing. Dino D. and Terence Young got the local European flavor to carry this tour-de-force to its maximum impact, with terse, punctuated dialog. We've seen the Bronson duo (Bronson & Jill Ireland) and Gerald O'Loughlin before, but that's about it for familiar faces. The good part is that everyone blends in.But it's the finely tuned narrative and banter between O' Lough. and Chas. B. that really sets this movie up: Their initial combative interplay, the psychological arm-wrestling regarding the spilling of the goods and the eventual delineation of years of mob activities keeps the metaphorical ball rolling. The eventual bond that develops between the snitch and the cop is neither rushed nor over emotionalized, as it too follows the same slowly brewed pace as the story line itself. You really feel the developed bonding of those two principals as the movie draws to its conclusion, punctuated by Riz Ortolani's lush score in 3/4 time and accentuated by the fact that both had been had!