OVERLAY REPORT

Upon its release in September 1990, **GoodFellas** was hailed as an immediate masterpiece by critics, though it faced significant controversy regarding its graphic violence and a somewhat modest initial box office performance compared to its current legendary status. ### 1. Critical Reception: "Better than The Godfather" The film received near-universal acclaim from the most influential critics of the era: * **Roger Ebert & Gene Siskel:** Both critics famously gave the film a "thumbs up" and four-star reviews. Ebert went a step further, calling it the **"best mob movie ever"**—explicitly stating it surpassed *The Godfather*. He praised Scorsese’s "sociological" eye for detail and the film's "frenetic energy." * **Vincent Canby (The New York Times):** Canby called it "memorable for the ensemble nature of the performances" and praised Scorsese's directorial flourishes (freeze frames, fast cutting, and tracking shots) as essential rather than superfluous. * **Pauline Kael (The New Yorker):** One of the few dissenting or at least "tempered" voices, Kael gave the film a mixed review. While she called it a "triumphant piece of filmmaking," she critiqued it for having "no arc" and lacking deep character development, famously observing that it "just comes to a stop." * **Variety:** Described it as a "masterly achievement in intense observation" and noted that the film's "breakneck pace" mirrored the cocaine-fueled lifestyle of its characters. ### 2. Controversy and Test Screenings Despite the critical praise, early screenings were notoriously disastrous: * **Test Screening Walkouts:** During a preview screening in Orange County, CA, approximately **70 to 100 people walked out** within the first ten minutes. Audience members were particularly repulsed by the early scene where Billy Batts is stabbed in the trunk of a car. * **The "X" Rating:** The film originally received an **"X" rating** from the MPAA due to its extreme violence (specifically the number of stabs in the trunk scene and the shooting of Spider). Scorsese had to edit these sequences down significantly to secure an "R" rating. * **Mob Authenticity:** The film's realism caused a stir; Nicholas Pileggi (the author and co-screenwriter) noted that real mobsters were impressed by the film's accuracy, particularly the depiction of the "day-to-day tedium" and the specific jargon used. ### 3. Festivals and Awards The film began its journey at the **47th Venice International Film Festival** in September 1990: * **Silver Lion:** Scorsese won the Silver Lion for Best Director, and the film was an immediate sensation among international critics. * **Academy Awards:** The film was nominated for six Oscars: Best Picture, Director, Screenplay, Editing, Supporting Actress (Lorraine Bracco), and Supporting Actor (Joe Pesci). * **The "Dances with Wolves" Loss:** In what is now considered a major Oscar upset, the film lost Best Picture and Best Director to Kevin Costner’s *Dances with Wolves*. **Joe Pesci** was the film's only winner, taking home Best Supporting Actor for his role as Tommy DeVito. ### 4. Box Office Performance While it is now viewed as a commercial juggernaut in terms of legacy, its 1990 performance was **solid but not a blockbuster**: * **Opening:** It opened at #1 in the U.S. with **$6.3 million**. * **Total Gross:** It eventually earned **$46.8 million** domestically on a budget of roughly **$25 million**. While profitable, it was out-earned in 1990 by films like *Home Alone*, *Ghost*, and *Pretty Woman*. ### 5. British Reception The film was an even bigger critical hit in the United Kingdom, where it won **five BAFTA Awards**, including Best Film and Best Director. The UK critics' poll in *Sight & Sound* later ranked it as one of the best films of its generation almost immediately after its release.