Sergio Leone’s “Once Upon a Time in America” is a cinematic masterpiece! A gangster film with epic scope and grand storytelling! Upon its initial release, however, it was met with disdain. The cut sent to American theaters was sliced by nearly two hours, removing key flashbacks and robbing the drama of its impact. The bastardization posing as Leone’s film was glossy and well-acted, but horrifically edited and needlessly frustrating. To paint the picture of how bad the meddling was, Roger Ebert awarded the two-hour cut a measly one star, whereas the near four-hour print was rewarded with his highest rating of four stars.
There are parallels between “Once Upon a Time in America” and “Live by Night,” Ben Affleck’s latest directorial effort. Both boast grand stories of gangsters in the Prohibition Era, upheld by their epic scope. Leone’s film spanned decades, though, while Affleck’s is confined to a few years. Nevertheless, both are engrossing deconstructions of the American Dream and how a corrupt world can poison the soul. They are engrossing when given time, that is. Dennis Lehane’s novel of the same name that this is based upon touched upon its central themes with finesse, each and every subplot given time to breathe and entrance. Its film adaptation, on the other hand, is shortchanged by its two-hour length.
Mind you, “Live by Night” is not a failure. Far from it. In comparison to the woes of “Once Upon a Time in America,” it is a sterling success! The core story of the trials and tribulations of gangster Joe Coughlin (Ben Affleck) rings through, unraveled via brisk pacing. Affleck takes to the role acutely, portraying the man as a kind soul simmering with hate. Hate towards a cruel world that strangles the underprivileged and minorities. He is a conflicted soul driven by forbidden love; first to a gangster’s mistress by the name of Emma Gould (Sienna Miller), second to a Cuban businesswoman by the name of Graciela (Zoe Saldana) during a time of racial discrimination. His rocky relationship with his father, Thomas (Brendan Gleeson), a Boston police captain, subconsciously guides his criminal activity.
What doesn’t ring through, at least not as strongly as they should, are the various subplots festering beneath Coughlin’s travails. On the surface, they’re sufficient. Each subplot poses as a hurdle for Joe to overcome, a roadblock in the way of the American Dream. There’s Chief Figgis (Chris Cooper), who heads the Tampa division and works alongside corrupt men such as Joe just so long as he doesn’t get his hands dirty himself. He’s willing to turn the other cheek when it comes to his bootlegging, but his aspirations in opening a casino amidst the legalization of gambling poses a problem. The Chief’s daughter, Loretta (Elle Fanning), has taken up preaching the Gospel and her word is developing a groundswell that could sink Coughlin. Italian Mafioso Maso Pescatore (Remo Girone) is breathing down Joe’s neck, getting in the way of his revenge against Albert White (Robert Glenister), the gangster (unintentionally) responsible for his three years imprisonment and the death of his first love.
These subplots conjoin to create a simple gangster flick akin to ones of the thirties and forties. If that was the sole ambition, “Live by Night” would be a rousing success. The set design & costuming capture the essence of the time and the cinematography & action set pieces imbue the film with excitement. The action sequences are admittedly the victim of the dreaded shaky cam, but Affleck and his editing crew smooth that out as best as possible. A car chase in the first act overcomes the stranglehold of the shaky cam, ending with an intense shot of Coughlin being thrusted from his vehicle upon crashing into another car. It is sudden and impactful, which Affleck uses to his advantage later on. A smooth landscape view of him and his partner, Dion Bartolo (Chris Messina), driving through the backroads of Florida is underpinned by a sense of foreboding dread, as if a car could come veering from the sides in a hit and run attempt. It never materializes, but the tension is there and present throughout.
Where Affleck is able to iron out tension amidst the two-hour length, he isn’t able to effectively convey sufficient drama from the subplots. They’re all built well, slowly developing in the shadows of his operation. Their legs are cut out from under them in order to service the runtime. What was handled with care is now rushed to the finish line, hampering the drama and symbolism contained within. A confrontation between Coughlin and Loretta underwhelms as it feels like a precursor made into a climax prematurely. Affleck tries his best to make it complement the immediacy of the tone, but it comes up short. The same goes for his blossoming relationship with Graciela which is brushed off into the sidelines to fizzle. Not helping matters is the lack of chemistry between the two which doesn’t come close to rivaling the sparkling rapport he had with Sienna Miller. Maybe the roles should’ve been reversed.
I don’t know for sure if a longer runtime would’ve fixed the glaring issues with “Live by Night.” I suspect it would, especially when taking into consideration my comparison to “Once Upon a Time in America.” Film critic Mike McGranaghan of “The Aisle Seat” argues that trimming some of the subplots, possibly even excising a few, would allow for a better flow. He makes a good point, but I’d argue that would tarnish the scope (which he addresses). What I do know is that the film is a comfortable viewing, albeit one that’s not as captivating as it should be.
Final Rating: B-