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After reviewing the Casino, you may never look at Las Vegas in quite the same way. Although this film, adapted from Nicholas Pileggi literature in the book, Casino: Love and Honor in Las Vegas, did not offer much in the way of startling revelations, it is an interesting insider perspective of what goes on behind-the-scenes in the country gambling mecca. As stated several times, Vegas is not a pleasure, glitz or glamour. These things just surface gloss. On the contrary, all this greed and money - to attract customers, leaving them to play, and sucking them dry.

Casino begins with a short sequence in 1983, before moving on to the meat of history, which is connected by means of flash. Director Martin Scorsese makes intensive use of voiceovers, using disembodied monologues both lead actors - Robert De Niro and Joe Pesci - fill in the gaps. The sheer volume of words detracts from the sporadic nature of development, but is a complete success, so as not to appear overly intrusive. Although intelligence, and it makes them a taste of voiceovers, say such currency is not always the best way to convey the story - the temptation to tell something, and not show it too big. Casinos are not always avoided that trap.

In every respect - from the fantastic sets, rich dialogue and unapologetic violence is well portrayed characters and themes, loyalty and betrayal - Casino is pure Scorsese. While no director of commencement of work, it is nevertheless make the movie convincing. Scorsese has never pulled strikes in breathing life into his ideas, and he does not start here. If there is an obvious weakness in the casino, that it sometimes seems derivative Goodfellas.

During the three-hour working time, the casino tells the story of two men linked life. “Back home years ago” (as the inscription reads on the screen), they were friends and colleagues. Sam “Ace” Rothstein (Robert De Niro, in his eighth together with Scorsese) was gambler who never lost. He researched all their bets carefully, and rarely a bad pick. His victory trends, it gained popularity and favor with the local mob, which is used Nicky Santoro (Joe Pesci) in the shade and protect it. Now that the Ace moved to Vegas to manage the Tangiers Casino, Nike is not far behind. And while two gravitate to the opposite side of the law, according Ace fingers clean and Niki takeover of local crime scene, they continue to cross the road, and their meetings have become less friendly. Stirred in a mixture of Ace’s girlfriend, Ginger (Sharon Stone), the expert hustler, which draws men like flies. Although she agreed to marry Ace, she continues with her former pimp (James Woods) at the same time encouraging the affections of Nike.

As usual, Scorsese has received excellent performances from its leads. Joe Pesci, basically reprising his Goodfellas, will probably get all the attention, because this kind of colours drew raves. In reality, however, that De Niro more subtle, it is better contained in that riveting. Casino anticipated focus on the Ace and Nicky, but despite nearly equal screen time for everyone, our sympathy is drawn to the former. To that end, De Niro in the image of shares equal responsibility with the script.

In his last four films, Scorsese has shown the ability to take mediocre actress and cull impressive performance from it. In Goodfellas, it was Lorraine Bracco. In Cape fear, Juliette Lewis. In Age of Innocence, Michelle Pfeiffer (arguably the best of the bunch). And now, in casinos, then Sharon Stone, whose summary (Basic Instinct, Sliver, The Specialist) is enough to make any serious film-goer wince. Surprisingly, however, she did not want to - not Oscar material, but not strong enough to drag down the film. Stone does not stick as a finger wound and, based on the reputation of Scorsese, a lion’s share of credit for this must be given to him.

Supporting players include James Woods restrained, comedian Don Rickles in a serious role, Alan King (also plays it straight), and Kevin Pollack. Scorsese mother is a brief (and very funny) look like no-nonsense parents to bumbling, small-time criminals. And those involved in Vegas, as Steve Allen, Frankie Avalon, Jayne Meadows, and Jerry Vale, who cameos.

Casino was filmed in Las Vegas, and it shows in splashiness and energy in almost every scene. Using gaudy costumes, and 70 in the soundtrack, Scorsese takes us back nearly two decades. Since striking the opening credits (designed by Saul and Elaine Bass, whose wonderful work on The Age of Innocence was one of the movie that abstracts), casino sparkles as her fake diamonds in the host city. In cinematography, which uses surprisingly few tricks, not to freeze the development-to emphasize key points, is sharp and clean.

Currently, the audience began to expect from the power of Martin Scorsese’s films. In casinos, he did not disappoint. The film is long, but with a fast plot, the escalation of tension, and surprisingly robust humor, three hours faster. A number of shortcomings, mostly minor, to keep casinos on the plateau just below, best director (Mean Streets, Raging Bull, Taxi Driver, Goodfellas), but, in this relatively bland-Thanksgiving movie season, it is one of the few records worth making efforts to see.

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