I’m actually going to start by answering this question, with another question! Would Bugsy Malonebe made today? If you said yes, you are very wrong and you probably belong in Fat Sam’s gang. The answer is in fact a resounding no! Why? Many reasons; it’s offensive, a nightmare to make, not based pre-existing source material; it’s a musical, and it’s also quite creepy! But this blog is not called “Would it be made today?” because that would be a terrible name and nobody would read it. But asking that question raises an important point about the cultural shifting of taste, the representation of people, and if sexualising children is actually a good idea or not. Hot topics I know. But to answer the title question properly, it must be observed with and without a contextual lens as to separate the technical and ideological qualities whilst also understanding the mostly detrimental effects it does have.
Bugsy Malone is a gangster musical set during the prohibition era, however the entire cast is children.
That’s the crux. The USP. That is the factor that changes this film from just another ‘Untouchables’ or ‘Lawless’ to something entirely different, thank god. Every aspect of the film is altered as you watch and think “haha, its children doing things that adults do” which is unarguably funny, especially if you look at what’s popular on the Internet theses days. But is it a good idea? Do they fill the adult shaped hole? Or is it like watching a school play with the production value double that of Mean Streets?
Two words: Jodie Foster. She’s head and shoulders above the rest, and that makes lots of sense as she basically just got off the plane from New York after wrapping with Scorsese and De Niro on Taxi Driver! Wow, what a year for her, show off! This is a blessing and a curse however as it highlights the smaller inadequacies, especially Bugsy himself, who does do a stellar job, at most. Sorry Bob Loblaw. Fat Sam (poor kid), Blousey and a small role for Britain’s own Dexter Fletcher as Baby Face are some other casting highlights.
Something I recently learnt from the WWW is that share something with many people. When I watched as a child, I didn’t see the peculiarity of the children. It was normal to me. I was watching people like myself and that I love. How connected I was.
When I said kids’ doing adult things is funny, it is. Except when the kids do the things kids shouldn’t do! Scouring the Internet for any different ‘takes’ on the matter sexualisation has been pointless as forgiving the suggestive nature of the dancers, singers as well as the pejorative use of a synonym for comprehensive is unanimous and the only valid opinion. “Bloody PC police, political correctness gone mad” fills the comment section on the free YouTube version of this film (no excuses now).
All the black characters are cleaners, drivers or boxers and to racially stereotype (to say the least) during the 70’s in a film that is set 40 years before doesn’t sound particularly shocking. But what is shocking is the fact that they are aware of the idea of censorship, as they brilliantly interchange death with splurge (watch it – I’m not explaining), but only appear to be exclusively weary of the idea of death entering the minds of children, and not the racism and sexism. But then again I wasn’t around in the 70s so I’ll move on.
Another, less significant problem arises within minutes of the start and that problem is that we the audience are lied to. A whopper of large proportions which, if not seen sharpish, will confuse viewers until the very final number. As the thick NYC accent of Fat Sam omnisciently announces that Mr Malone is the hero of our story, our eardrums are blessed with our first taste of the score. Title track ‘Bugsy Malone’, which has an Elton John-esque piano/harpsichord style to it, serves as a cinematic Swiss army knife tasked with delivering exposition, setting the mood and uncovering the blatant reality that Paul Williams is the real hero of the film. “A man mountain/he’s a rolling stone”.
Now one of the main reason I say this is because all 10 tunes are wonderful. Its one of those rare albums where it plays consistently from start to finish, allowing mood to dictate my ever changing personal favourite. I am unable to think of a film that has given us such an interesting a unique score. One that doesn’t even sound like its tied to a movie. To replace the lyrics with lines of generic love would be creating a 70’s classic pop-rock masterpiece, Paul you silly bastard! As long as you can get used to children miming to a voice that isn’t theirs, you should love it.
The moments of intensity and the moments of charm are elevated by the sets, which are obviously studio sets but it doesn’t matter – realism clearly wasn’t the aim. And the costumes, they look expensive.
So, does it hold up? I think that depends. I cannot really work it out myself to be honest. The film stands unique with issues and problems that will only become more confusing over time, or not? I have no idea. Empathising with characters with disagreeable views and broken moral compass’ has been present in all great gangster films, getting people to emotionally invest is a sign that the film works. Adding children to the mix (actors and viewers), and subjecting them to brutal reality of the time is a, element that can be weighed up by using the message the film attempts to provide. “You’re gonna be remembered for the things that you say and do” is the final message as the splurged ensemble unite in singsong. But does the film say and do enough challenge history and teach those connecting with it most to be better? I’m sorry but I just don’t know.
Does it hold up? 