It goes without saying that a modicum of allowances has to be made when a true story is being adapted for the big screen. But if you shoot a fairy tale that has next to nothing to do with what actually happened - why call it Bugsy and make the audience believe this was a halfway true story? The Godfather trilogy processes many real characters and events, Once Upon A Time In America does it, too, but they don't claim to be telling true stories.
* SPOILER*
In the movie, Benny has this grand vision of a gambler's Eldorado; in real life Lansky had to argue him into going to Nevada. Benny deemed the notion of a counterpart to Monte Carlo idiotic, and he'd have preferred to continue his life as a playboy in L.A. Not until much later Benny warmed to the idea. But of course he's the hero of the movie, so naturally the idea had to be his.
In the movie, Benny wants to use Count diFrasso to get close to Mussolini in order to assassinate him because he was Hitler's partner, and Hitler killed jews in gas chambers, after all. Obviously we're supposed to like Benny, so the screenwriters invented this nonsense. In real life, at that time nobody knew about the gas chambers, least of all Benny who was completely uninterested in politics. In fact he did use the countess' connection and he did visit Mussolini, but not to kill him, but to sell explosives to him. He even met Goebbels and Goering during his sojourn in Italy.
The whole Greenberg subplot was nonsense. Greenberg didn't turn stool pigeon, he didn't seek refuge with Benny, Benny didn't kill him (that was up to Albert Tannenbaum)... at least they got the name right.
I guess it was supposed to be very romantic to have Virginia return to Benny, offering him the money she had stolen. The movie even goes so far to tell us via text panels that she ruefully returned the money to Lansky after Benny's assassination. Let me just say, revisionism just doesn't get more impudent than this.
This list is by no means exhaustive - there's the issue with Benny's family not living in L.A, the way Benny deals with Dragna and Adonis, the portrayal of Costello (a disagreeable corporate type), Lansky (a lovable teddy bear), Benny himself (an aging windbag who wouldn't have reached age 12 if he had regularly gone "bugsy" in situations like those in the movie, and what's more, who neither has the good looks nor the charisma of Benny Siegel) and many others. Apart from a few hard facts nothing's right in this flick.
* SPOILERS END HERE*
All in all, this is the one mafia movie that manages to be even more ridiculously bad than Harlem, NY. But honor where honor is due: This is a feat in itself.
* SPOILER*
In the movie, Benny has this grand vision of a gambler's Eldorado; in real life Lansky had to argue him into going to Nevada. Benny deemed the notion of a counterpart to Monte Carlo idiotic, and he'd have preferred to continue his life as a playboy in L.A. Not until much later Benny warmed to the idea. But of course he's the hero of the movie, so naturally the idea had to be his.
In the movie, Benny wants to use Count diFrasso to get close to Mussolini in order to assassinate him because he was Hitler's partner, and Hitler killed jews in gas chambers, after all. Obviously we're supposed to like Benny, so the screenwriters invented this nonsense. In real life, at that time nobody knew about the gas chambers, least of all Benny who was completely uninterested in politics. In fact he did use the countess' connection and he did visit Mussolini, but not to kill him, but to sell explosives to him. He even met Goebbels and Goering during his sojourn in Italy.
The whole Greenberg subplot was nonsense. Greenberg didn't turn stool pigeon, he didn't seek refuge with Benny, Benny didn't kill him (that was up to Albert Tannenbaum)... at least they got the name right.
I guess it was supposed to be very romantic to have Virginia return to Benny, offering him the money she had stolen. The movie even goes so far to tell us via text panels that she ruefully returned the money to Lansky after Benny's assassination. Let me just say, revisionism just doesn't get more impudent than this.
This list is by no means exhaustive - there's the issue with Benny's family not living in L.A, the way Benny deals with Dragna and Adonis, the portrayal of Costello (a disagreeable corporate type), Lansky (a lovable teddy bear), Benny himself (an aging windbag who wouldn't have reached age 12 if he had regularly gone "bugsy" in situations like those in the movie, and what's more, who neither has the good looks nor the charisma of Benny Siegel) and many others. Apart from a few hard facts nothing's right in this flick.
* SPOILERS END HERE*
All in all, this is the one mafia movie that manages to be even more ridiculously bad than Harlem, NY. But honor where honor is due: This is a feat in itself.