Bill Krohn
“Once Upon a Time in America”
In Sergio Leone’s valedictory film, every image, to borrow a phrase from Andrew Sarris writing on John Ford in The American Cinema, is haunted by its “memory image on the horizon of history.” Ford is still Leone’s master, even in a film whose antagonists — “Noodles” Aronson (Robert De Niro) and Max Bercovj (James Woods) — pointedly recall the gangster movies Raoul Walsh made about friends who rise up from the same slum neighborhood and become foes because of class divisions.