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The_Film_That_Changed_My_Life

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Once Upon a Time in America<br />

153<br />

How would you describe Once Upon a Time in America to someone<br />

who has never seen it?<br />

Polish: It’s an epic tale of a group of Jewish gangsters in New York from<br />

childhood through their glory during Prohibition and their meeting thirty-<br />

​five years later, but that still doesn’t do it justice because there are so many<br />

interpretations, whether it was a dream of ether or heroin? Or was it a<br />

real, chronological tale of these gangsters growing older and becoming<br />

politicians?<br />

I don’t like to say I know everything about this movie, but just internally<br />

it speaks to me, as just a human, a person alone. I can watch this movie<br />

alone and be a fan. Whether a filmmaker or not, I can be a fan because it<br />

has so many symbols and situations that reflect life itself, growing up. Even<br />

growing up in the suburbs, you still have friendships the same way these<br />

kids have friendships.<br />

Your dad introduced you to it?<br />

Polish: Yes. It was a longer version, at the Tower <strong>The</strong>atre in Sacramento.<br />

I remember it having an intermission. It was the first movie I saw to have<br />

an intermission. He would take me to all kinds of movies which I wasn’t<br />

ready for, like Dog Day Afternoon. When it came out I was too young.<br />

Once Upon a Time in America was a rerelease when I saw it, the restored<br />

version.<br />

We also rented it a year or two later. It was in two tapes, and it was the<br />

longer version my dad brought home on video. I remember watching it several<br />

times, not quite sure why I liked something like that at all. When I was<br />

sixteen or seventeen I watched it again and put the story together and really<br />

felt the ambience of it all.<br />

Leone wants to create mood with style, and that’s because he allows time<br />

and picture to be one, as opposed to you seeing just the style and cutting and<br />

filmmaking. He allowed the scene to play out in the fullest extent. He was<br />

probably the best director to evoke time.<br />

He spent what he calls the “mature years of his life,” about seventeen<br />

years, on it. He had ten hours of footage and a four-hour cut. But

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