Capone is a diaper full of cinematic dreams, finally realized
In 1946, in the “final year of his life,” shambling monster Alphonse Capone hobbles after a group of squealing children, his face a mottled testament to the syphilis also destroying his brain, his voice a cartoonish, sputum-y whine somewhere between “heartburn burp” and “full diaper getting stepped on.
Fonzo’s wife Mae has welcomed family and friends and various mooks to celebrate Thanksgiving with the notorious crime boss. We meet Fonzo following a decade-long stint behind bars , in the twilight of his life at only 47 and a mumbling, corpse-like specter of the once-feared mobster. A sopping-wet stogie forever etched into the crook of his dribbling jaw, Hardy as Capone is an unceasingly mounting spectacle of misery and idiotic violence and astounding fecal foley work.
Countless characters surface with seeming purpose to the plot but are quickly dispatched after a scene or two, their stories—whatever they were—gone completely unfinished. Capone’s doctor can’t weasel his way out of acting as an FBI informant, until he apparently does, off-screen.
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