There is a revealing moment in "Gotti" when the "Dapper Don," John Gotti, makes the decision to boot his long time associate Angelo Ruggiero out of the Gotti crime syndicate. The term that is used for this kind of banishment is putting a man "on the shelf." The film suggests that being placed on the shelf was a fate worse than death for Ruggiero, who in fact died of natural (i.e., non-gangland criminal) causes.
The "on the shelf" theme reappears in what is the most successful part of the film in the relationship of Gotti and his son, John A. Gotti, Jr. While his father is dying of cancer in prison, a meeting occurs in which the younger Gotti breaks the word to his father and his sacred pledge to the cosa nostra. Gotti, Jr. has decided to accept a plea deal with the intent to remove himself permanently from the family business.
The father-son conflict and drama that builds out of two generations of different views on "La Famiglia," is compelling in the final third of the film. The actors, especially John Travolta as Gotti, Sr., were dynamic in their roles and developed a compelling psychological tug-of-war between father and son.
On the other hand, the remainder (and majority) of the film relied far too heavily on a highlight reel of criminal activities of the Gambino family. The focus on Gotti's rise to power through the murder of "Big Paul" Castellano in broad daylight outside the Sparks Steak House in midtown Manhattan was an all-too-familiar story that did not shed new light on Gotti.
The film also failed to demonstrate the great popular appeal of Gotti, especially in New York where he gained an enormous following right up to the time of his death. How does one explain this phenomenon in light of the overwhelming evidence, including recordings of Gotti's own voice, for Gotti's brutal criminal activities? One of Gotti's mottoes was "never take a backward step." But the film never portrayed Gotti as taking a step forward. Contrary to his creed, Gotti's quest for power always seemed to moving his life in reverse.
The "on the shelf" theme reappears in what is the most successful part of the film in the relationship of Gotti and his son, John A. Gotti, Jr. While his father is dying of cancer in prison, a meeting occurs in which the younger Gotti breaks the word to his father and his sacred pledge to the cosa nostra. Gotti, Jr. has decided to accept a plea deal with the intent to remove himself permanently from the family business.
The father-son conflict and drama that builds out of two generations of different views on "La Famiglia," is compelling in the final third of the film. The actors, especially John Travolta as Gotti, Sr., were dynamic in their roles and developed a compelling psychological tug-of-war between father and son.
On the other hand, the remainder (and majority) of the film relied far too heavily on a highlight reel of criminal activities of the Gambino family. The focus on Gotti's rise to power through the murder of "Big Paul" Castellano in broad daylight outside the Sparks Steak House in midtown Manhattan was an all-too-familiar story that did not shed new light on Gotti.
The film also failed to demonstrate the great popular appeal of Gotti, especially in New York where he gained an enormous following right up to the time of his death. How does one explain this phenomenon in light of the overwhelming evidence, including recordings of Gotti's own voice, for Gotti's brutal criminal activities? One of Gotti's mottoes was "never take a backward step." But the film never portrayed Gotti as taking a step forward. Contrary to his creed, Gotti's quest for power always seemed to moving his life in reverse.