In the pantheon of Hollywood gangster films, few names carry as much weight as Robert De Niro. From The Godfather: Part II to Goodfellas, his roles have defined the genre for generations. Now, at 81 years old, De Niro returns to familiar territory with The Alto Knights, a crime saga with a twist: he doesn’t just play one mafia boss—he plays two. Released on March 21, 2025, the film dives deep into the real-life rivalry between Frank Costello and Vito Genovese, two towering figures in the mid-century American underworld.
The Plot: A Tale of Power, Betrayal, and Blood
Set in 1950s New York, The Alto Knights follows the unraveling relationship between Costello and Genovese, former allies whose visions for the future of organized crime collide violently. At its heart, the film is a power struggle: Costello, dubbed “the Prime Minister of the Underworld,” rules with calculated charm and a preference for influence over brutality. Genovese, meanwhile, is impatient, ruthless, and eager to seize control by force.
The tension reaches a breaking point when Genovese orchestrates a hit on Costello—a moment rooted in true events—which fails but sets off a bloody mob war. Through backroom deals, family betrayals, and political manipulation, The Alto Knights paints a rich portrait of ambition within the most secretive corridors of power.
De Niro Squared: The Challenge of Dual Roles
Playing two characters in the same film is no easy task, but De Niro brings decades of nuance and intensity to the screen. As Frank Costello, he’s calm and refined, often delivering lines with a weary gravitas that hints at the psychological burden of leadership. As Vito Genovese, he’s all sharp edges—angry, volatile, and prone to explosive outbursts.
What’s impressive isn’t just the performance, but the seamless way De Niro navigates their scenes together. Using advanced digital compositing and practical doubles, director Barry Levinson creates conversations between the two mobsters that feel natural and intimate. Their body language, speech rhythms, and even eye movements are choreographed to perfection.
In interviews, De Niro described the process as “mentally exhausting but creatively exhilarating.” He studied archival footage and FBI recordings to differentiate the men—not just in mannerism, but in worldview. “Costello was a statesman,” he explained. “Genovese was a general. That’s how I approached it.”
Behind the Scenes: A Mob Movie Dream Team
The Alto Knights reunites De Niro with Barry Levinson, the Oscar-winning director of Rain Man and Bugsy, and Nicholas Pileggi, the journalist and screenwriter behind Casino and Goodfellas. With such a pedigree, expectations were sky-high.
Filming primarily took place in Cincinnati, Ohio, which was transformed into mid-century Manhattan with astonishing detail. Vintage cars, meticulously dressed extras, and sepia-toned cinematography help bring the era to life. The production even recreated the infamous 1957 Apalachin meeting—a real gathering of mob leaders that was raided by police and shook the criminal world.
Composer Thomas Newman provides a moody, jazz-inflected score that underscores the psychological tension between characters. Costume designer Arianne Phillips also deserves mention for tailoring subtle contrasts into Costello and Genovese’s wardrobes—classic suits for Costello, bold pinstripes for Genovese.
Supporting Cast: A Who’s Who of Mob Drama
Though De Niro carries the film, the supporting cast adds plenty of firepower:
- Kathryn Hahn plays Costello’s wife, adding emotional weight to his home life.
- Bobby Cannavale appears as a young Carlo Gambino, maneuvering in the shadows.
- John Turturro portrays mob fixer Albert Anastasia with icy intensity.
- Jesse Plemons delivers a standout turn as an FBI agent obsessed with bringing both men down.
Each character adds to the rich tapestry of loyalty, fear, and betrayal that defines the mob genre.
Fact Meets Fiction: Historical Roots
While The Alto Knights takes dramatic liberties, much of the plot is based on historical events. The real-life Frank Costello did survive an assassination attempt in 1957, and Genovese was long suspected to be behind it. Their falling out contributed to a power vacuum in the Mafia, leading to shifts that would reshape the American crime landscape for decades.
The film leans into this backdrop, portraying not just the men, but the machine they were part of. There are scenes with corrupt senators, crooked cops, and even journalists complicit in hiding mob activity. It’s not just about gangsters—it’s about a system built on silence and mutual benefit.
Critical Reception: Divided Loyalties
Critics have had mixed feelings. RogerEbert.com called it “a stylish throwback that occasionally gets lost in its own ambition.” Others, like Empire Magazine, praised De Niro’s dual performance as “a masterclass in character separation.” Some felt the pacing lagged in the second act, weighed down by exposition.
But nearly everyone agrees on one point: De Niro delivers. The novelty of watching him square off against himself is more than a gimmick—it’s a showcase of talent honed over a lifetime.
One Last Job?
The Alto Knights might not reinvent the mob movie, but it stands as a bold and unique entry in a genre De Niro helped define. At its core, it’s a story of two men who were once brothers in arms—and how pride, power, and paranoia turned them into enemies.
As the credits roll, it’s hard not to feel a sense of finality. De Niro, in his 80s, facing off against himself, symbolically closing the chapter on a career filled with wiseguys, dons, and underworld kings. If this is one of his last great mob performances, it’s a hell of a way to go out.
Because in The Alto Knights, the only thing more dangerous than crossing a mafia boss… is crossing two of them.
By: Valeria Benavides Velarde
