Remembering Martin Scorsese’s classic Casino

Can you believe that it was 22 years ago that Martin Scorsese’s Las Vegas film was released? Coming hot off the heels of Goodfellas, it was another movie adaption of a story by Nicholas Pileggi, based on real events.

This time the winning duo tell the story of Frank Rosenthal and his life in the sin city during the 1970s. Rosenthal was a professional player who became an executive before turning into an organised crime associate.

Rosenthal survived an assassination attempt in Las Vegas on 4^th October 1982, outside Tony Roma’s restaurant. He had been blamed for the legal problems the mob-controlled establishments were suffering. Frank Rosenthal was targeted via a car bomb (attached to the gasoline tank) that was detonated when he started his car. Incredibly, he survived.

Running a business under influence of the mob, the character of Sam Rothstein is based on Rosenthal, and played by Robert De Niro in the film. De Niro, according to Rosenthal himself, is about a 7/10 on accuracy. In addition, Nicky Santoro is based on Rosenthal’s former friend Anthony Spilotro, and is played by Joe Pesci.

The film gives a version of their falling out as well as what was believed at the time to be the way Spilotro met his end in a cornfield alongside his Michael (Nicky’s brother Dominick in the movie).

As well as these two we have Ginger McKenna, played by Sharon Stone in a Golden Globe-winning performance, who was based on Geri McGee, Rosenthal’s ex-wife that he met and married in Las Vegas.

The movie itself is all inspired by a true story, from Ginger and Sam having a fateful moment on the establishment’s floor where she showers onlookers in chips to him being pulled in for operating a gaming establishment without a licence. The majority of the movie is all based on the truth.

Some of the more unbelievable scenes that are all based on true events that you’ll never see online on websites like this one here. Or you could find further everyday lifestyle at www.nektan.casino.

The editorial unit