But I was so exhilarated I barely noticed. Watching “Goodfellas” with that crowd was a fully interactive experience, like “The Rocky Horror Picture Show” for felons. And then after that grisly prologue — in which Joe Pesci leans into the car trunk with a kitchen knife and repeatedly stabs a bloody, whimpering Frank Vincent, followed by De Niro emptying his pistol into the corpse — once again the guy hollered “THAT’S ITALIAN!” and the theater exploded into cheers. This followed for every name in the credits that ended with a vowel, which as you’ll recall are quite a few. Released in 1995 the movie was seen as a kind of pseudo-sequel to Goodfellas because.“THAT’S ITALIAN!” someone in the audience bellowed at the sight of Robert De Niro’s name in the opening titles, to uproarious applause.Scorsese gleefully tears down the opulent mythology of “The Godfather” with a parade of numbskull proles meeting ugly ends. He and editor Thelma Schoonmaker set a dizzying array of whip pans, slow motion, Steadicam shots and jump cuts to a nonstop soundtrack of jukebox oldies as if exulting in the sheer, delirious possibilities of what movies can do.So much of “Goodfellas” has been absorbed into popular culture over the past three decades it’s sometimes difficult to remember just how radical — even dangerous — it felt back then. It’s the most sustained act of showboating virtuosity in American cinema since “Citizen Kane,” or at least “Touch of Evil.” Chronicling the rise and fall of unrepentant lowlife Henry Hill, Scorsese constructs the film at first as a seduction, with soaring camera movements and side-splitting comedy, followed by a nerve-shattering collapse during which all the allure of this lifestyle is revealed as rotten to the core. “Goodfellas” hit me like a bolt of lightning.When you watch it you feel like you’re getting away with something.Just in time for the film’s 30th anniversary, former Premiere magazine editor and New York Times film critic Glenn Kenny has published “ Made Men: The Story of Goodfellas,” an exhaustive and essential companion piece to the picture that taught even this self-proclaimed expert a ton of new things about his favorite movie. The attitude is contagious. So irreverent it ends with Sid Vicious’ sarcastic cover of the flatulent Sinatra anthem “My Way,” I’d never seen a movie with such swagger.
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