JFK assassination film seen through the objective of an Italian-American crowd envelops shooting in Winnipeg

Nicholas Celozzi spent a large part of his life reviewing the events that led to the assassination of former American president John F. Kennedy.

Small stories have filled his childhood home. Conversations with his uncle Joseph (Pepe) Giancana, brother of the boss of the crowd of Chicago, Sam Giancana, later helped to shed light on the possible involvement of his family in one of the most debated moments in American history.

After decades of cinematographic and television representations of Sam Giancana, Celozzi Conceptualizes the filming of Kennedy in 1963 by emphasizing the main actors in Chicago’s outfit, a powerful Italian-American criminal organization.

For Celozzi, his latest scriptwriting company, it’s more than telling another story of assassination. It is the family.

“My family, my cousins, really got tired that people use our name, monetize our name and told a false story,” said Celozzi in an interview.

“They are not fictitious people … They are real people. They are vulnerable, they have nerves, they make mistakes, they are not quite sure of things.”

Sam Giancana, chief of Chicago outfit in the 1950s and 1960s, was widely known for his links with the Kennedy family. He was shot in his home in 1975 and his murder remains unresolved.

Many have speculated that the Mob group also played a role in the assassination of Kennedy, and this is explored in Celozzi November 1963Who started filming in Winnipeg this summer.

Drawing on the stories of Pepe Giancana, Celozzi focuses on the 48 hours preceding the assassination.

Giancana, a driver to fill her brother, had been a fly on the wall in the days preceding the assassination, said Celozzi, who is also one of the producers of the independent film.

Many conversations have led to Celozzi to call the “Pepe Chronicles”, a series of stories detailing the bonds of the family crowd.

“I was always aware of who they were. These are not things that everyone is coming home and speaks. It is a conscience. It is a kind of strange reality in which you were born,” said Celozzi.

Pepe Giancana died in the mid -90s, leaving her stories with Celozzi.

Conduct for honesty

The writer said he knew he wanted to do something to honor the story of his family without degrading them in caricatures often found in the films of the crowd. So he started working with Sam Giancana’s daughter, Bonnie Giancana, to develop the script.

In several years and rewritings, Celozzi said they worked to ensure that every detail was exact.

“I needed to keep it honest with the story Pepe gave me, or why it at all? If I was not going to be honest on what he gave me, there was no goal in me,” said Celozzi.

He brought Canadian producer Veteran Kevin Dewalt from Minds Eye Entertainment on board to produce the film, which wrapped the shooting in Winnipeg last week and entered post-production in Saskatchewan.

“I do not think that the family was proud of what happened … It was important for them to tell the truth before dying,” said Dewalt.

The cast includes John Travolta, Dermot Mulroney and Mandy Patinkin and is produced by the English filmmaker nominated for Oscars Roland Joffe.

When the time came to choose a location that could imitate Chicago from the 1960s and the Landmark Dealey Plaza in Dallas, where Kennedy was killed, the producers have chosen Winnipeg on other major cities such as Atlanta and New Orleans in part because of its district district district. The producers decided that Winnipeg was a perfect replacement for the windy city.

Dealey Plaza, and the famous lanyard of lawn, was built from zero to the provincial park of Birds Hill, northeast of Winnipeg.

The film presents 1,500 extras and 75 to 80 vintage cars to accurately represent the period.

Dewalt said he expects viewers to be blown away by the film’s ability to bring a new level of authenticity and validity at the time of history.

“People will get out of the theater with their own impressions of what it means,” he said.

“In the end, at least we gave them the tools for one of those things that have been told, and they can do their own impressions in terms of what they think.”

When he was asked if he thought that the film could rush the feathers with historians, governments or members of the mafia, Celozzi said that it was not his goal.

“What I do is just put this missing piece, not glamorous, just write it.”