Clearly imagined as a Godfather-style epic
set in the colorful subculture of modern-day gypsies, this Dino De Laurentiis
production features an impressive cast, splashy production values, and a vivid
storyline filled with betrayal and violence. Yet as with many of De Laurentiis’
pulpier offerings, a general atmosphere of tackiness pervades King of the
Gypsies—instead of treating its characters with respect, as Francis Ford
Coppola did with the Corleone family in the Godfather movies,
writer-director Frank Pierson presents gypsies as one-dimensional primitives. King
of the Gypsies is filled with arranged marriages, incessant shouting, quasi-Biblical
domestic strife, physical abuse, and willful ignorance. Very much like
Pierson’s directorial debut, the much-maligned A Star Is Born (1976), King
of the Gypsies occupies a queasy middle ground between legitimate cinema
and outright exploitation—both movies are too campy to take seriously, and yet
both are made with meticulous craftsmanship. (Oddly, most other highlights in
Pierson’s career feature greater nuance, from 1975’s Dog Day Afternoon,
for which he wrote the Oscar-winning script, to various telefilms Pierson
directed, including 1992’s Citizen Cohn.)
Adapted from a book by Peter
Maas, King of the Gypsies tells the life story of Dave Stepanowicz, a
young man who inherits a position of power in the gypsy community but rebels
against inhumane gypsy traditions. The narrative begins with an elaborate
prologue that explains how Dave’s parents became involved with each other.
Dave’s grandfather, Zharko (Sterling Hayden), is the king of an East Coast
gypsy empire circa the 1950s. He arranges to buy a gypsy teenager, Rose, as a
bride for his ne’er-do-well son, Groffo. When Rose’s family tries to back out
of the deal, Zharko abducts Rose at gunpoint. Years later, Rose (played as an
adult by Susan Sarandon) and Groffo (played as an adult by Judd Hirsch), give
birth to children including Dave (played as an adult by Eric Roberts, in his
cinematic debut). During episodes that depict Dave’s childhood and adolescence,
friction grows between Dave and his abusive father, so once he’s in his 20s,
Dave leaves home—thereby shunning his role as a prince in Zharko’s monarchy.
Dave tries to make it on his own, even dating a non-gypsy (Annette O’Toole),
but when Zharko’s health declines, Zharko summons Dave back into the family
fold. A struggle for control then emerges between Dave, Zharko’s choice as the
next king, and Groffo, who resents being pushed aside.
Because the story covers
so much tawdry narrative terrain, King of the Gypsies is never boring.
The movie also looks great, with crisp images by master cinematographer Sven
Nykvist, and the soundtrack features vibrant acoustic music by David Grisman.
In fact, much of the movie works. Roberts is strong, delivering a James
Dean-style performance as an angry young man, while Hirsch and Sarandon complement
him well (despite playing underwritten characters). Hayden is a joy to watch,
as always, even though he’s hilariously miscast, and Pierson wisely keeps the
screen time of scenery-chewing Shelley Winters (playing Zharko’s wife) to a
minimum. (Rounding out the flashy cast, Annie Potts plays a gypsy woman who
gets a crush on Dave, and Brooke Shields plays Dave’s little sister—a poignant
role that far exceeds her dramatic powers.) The intensity of King of the Gypsies rises steadily from
start to finish, especially since the story concludes with a suite of violent
scenes. Furthermore, the research Maas did for his book provides Pierson with
abundant colorful details, such as the rituals of gypsy life. King of the
Gypsies is overwrought and silly, but within its lowbrow limitations, the
movie is also an entertaining ride.
King
of the Gypsies: FUNKY
