Prior to 1995's Casino, über-director Martin Scorsese had provided an insight into the mannerisms of the mafia (Goodfellas), the corruptive nature of celebrity and professional sport (Raging Bull), and the common man's individual moral beliefs against corruption in society (Taxi Driver). All of these films featured Robert De Niro in riveting portrayals of men who allow instinct, emotion, and jealousy to corrupt their self-control. Casino is comparable to these too, however De Niro's Sam Rothstein, a hotel manager, is a less explosive and more analytical kind of man.
The film opens with a bang and ends with a whisper. The first third of the movie is easily the most riveting, as Scorsese leads the viewer through the seedy twists and turns of Las Vegas operations. A sardonic voiceover sets the stage for a series of narratives that explain how money is filtered to and from the casino without leaving a detectable trail. The Vegas law enforcers probably wouldn't even suspect the amount of illegal activity that's going on, if it weren't for Rothstein's number one henchman and friend, the fiery Nicky Santoro (Joe Pesci), who goes around beating and killing people.
As if by tragic flaw, Rothstein falls for a high-stakes scammer named Ginger (Sharon Stone). He knows full well that she is a hustler who had a pimp (James Woods), but he pursues her and marries her all the same. This, of course, becomes his Achilles heel, as he watches his artificial construct of romance tumble all around him.
When the movie was released in 1995, much was written about Stone's performance, which is adequate but nothing spectacular. Up against Susan Sarandon and Elisabeth Shue that year (for Dead Man Walking and Leaving Las Vegas respectively), Stone didn't really stand much of a chance, particularly since more credit was given to Scorsese for eking the performance out of her.
Casino is masterfully crafted and gorgeously edited. One does not always associate Scorsese pictures with a strong musical score, but here the soundtrack, replete with well-chosen oldies, is worthy of mention. The only real snag to an otherwise fine film is the emotionally bereft script, which allows for lots of great detail but very little attachment to any of the players. The third act is particularly uneven, as the stressed-out Sam and the drug-addicted Ginger fight ad nauseam to an inevitable conclusion. Overall though, the kinetic momentum and the meticulous minutiae buoys the end product with satisfying results.
