The film, written, directed and edited by Josh Trank, is all hinged on the effect of the physical and mental decline of a man who had also been very powerful and fearsome. Already on the poster Al Capone flakes in the same way as his boss figure now considered harmless and that between his lips is forced to tighten carrots in place of his beloved cigars. He plays with the children, from whom he is overwhelmed, continually receives calls from Cleveland who he thinks come from a non-existent son. The doctor (Kyle MacLachlan) advises his wife to keep familiar things around him but the precious Roman statues are gradually taken away. The obsession makes room in his mind: on the radio he is convinced he hears the news of the Valentine’s Day massacre and thinks he is being observed continuously. Also knocked down by his wife who no longer wants to hear the name Al spoken, he is intercepted by the FBI who unnecessarily sends an agent to interrogate him. Everyone, even the police, seems interested only in the phantom 10 million dollars that Capone would keep hidden (and which have never been found to date).
Tom Hardy provides really important evidence. Heavily disfigured by makeup, he lavished a final shootout with a diaper in sight and a carrot squeezed between his teeth. At this juncture, his Capone says he is disgusted by his associates and money. The reminiscences of his bloody exploits disturb him greatly. The script doesn’t particularly highlight the boss’s true personality but Hardy does what he can and does it very well.
Capone, a journey into the minds and memories of the gangster
“Capone”, whose work was somewhat troubled, initially presented a much more emblematic provisional title: “Fonzo”. This is not a classic biopic, but a work that undermines the canons of the genre and remains suspended between dreams / hallucinations and reality, with some horror and splatter nuances. The film does not present a large amount of events and above all leaves very little room for realism. Yet it leads us into an interesting psychology for the aforementioned decline effect, with flashes of humanity rediscovered through the dementia that somehow paradoxically makes you come to your senses. Trank chooses not to cultivate the seeds scattered here and there: the hidden money, the real children or the fruit of hallucinations, the bankruptcy that leads to the loss of the statues. It simply makes us take a journey into the now sick mind and the memories of the gangster already represented many times in the cinema, in a finally different way.
Pending its release in Italy, “Capone” has already grossed $ 2.5 million through streaming on demand in the United States of America in just ten days. This bodes well for those who wait in our country to enjoy this suggestive and well-made film, which at the moment has satisfied the public but much less the critics.