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Kill the Irishman

Kill the Irishman is a biographical crime drama film directed and co-written by , based on the true story of , an Irish- labor leader and mobster who challenged the in the , sparking a brutal turf war that involved numerous attempts and bombings. The film stars in the lead role as Greene, with supporting performances by as , as Joe Manditski, and as . Adapted from Rick Porrello's 1998 non-fiction book To Kill the Irishman: The War That Crippled the , the screenplay by Hensleigh and Jeremy Walters dramatizes Greene's rise from a and union president to a feared independent crime figure who evaded multiple murder plots before his eventual death in a car bombing. Produced by Code Entertainment, the film was shot primarily in Detroit, Michigan, standing in for 1970s Cleveland, with a budget of $12 million that allowed for authentic period details including vintage cars and explosives for the bombing sequences central to the plot. It was released theatrically on March 11, 2011, in the United States, where it grossed approximately $1.2 million at the box office. Running 106 minutes, Kill the Irishman blends elements of gangster biography and action thriller, highlighting the real-life events that contributed to the decline of organized crime in several Midwestern cities through federal investigations spurred by the violence. Critically, the film received mixed reviews, earning a 63% approval rating from critics on based on 51 reviews, with praise for Stevenson's charismatic portrayal of Greene but criticism for the script's conventional pacing and lack of deeper insight into the historical context. On , it holds a score of 50 out of 100 from 15 critics, indicating "mixed or average" reception, while audiences have been more favorable, giving it a 67% score on and a 7.0 out of 10 on from over 54,000 user ratings. Though not a major awards contender, Kill the Irishman has gained a among fans of mobster films for its depiction of lesser-known American underworld history and its ensemble of character actors.

Historical basis

Danny Greene

Daniel John Patrick Greene was born on November 14, 1929, in , , to immigrant parents John Greene and Irene Fallon. His mother died shortly after his birth, leaving his father unable to care for him and his brother, resulting in the boys being placed in an before Greene was eventually taken in by his paternal grandfather in the neighborhood. Greene dropped out of high school and initially worked odd jobs, including as a boxer and in construction, before enlisting in the U.S. Marine Corps during the era, though he did not see combat. In 1957, Greene began working as a longshoreman on Cleveland's docks and quickly became involved in union activities, rising through the ranks of the (ILA). By the early , he was elected president of Local 1317, where he aggressively organized workers, confronted employers, and transformed the union hall into a hub of Irish-American camaraderie, complete with green decor and celebrations. However, his tenure was marred by accusations of ; in 1964, he was indicted for stealing union funds, convicted in 1966 (with the conviction overturned on appeal in 1968), and removed from his position in 1970 after pleading guilty to violating union laws and being fined $10,000. Following his ouster, Greene established a labor in the late , which authorities suspected served as a front for rackets, including shaking down trash haulers and firms for "protection" payments, as well as involvement in illegal operations. Greene's ambitions led him into direct conflict with the , dominated by the Italian-American Licavoli faction under boss James "Jack " Licavoli. Initially, he allied with Jewish mobster Alex "Shondor" , providing muscle for Birns' loan-sharking and gambling enterprises, but the partnership soured over unpaid debts, culminating in Greene orchestrating Birns' death via in 1975. Greene then partnered with mob underboss to challenge Licavoli's control, forming the Celtic Club—a for toughs that doubled as a base for their operations—and cultivating a " of " persona by donating to local charities and aiding struggling families in his neighborhood. The feud escalated into a bombing , with over 30 car bombs detonating in between 1976 and 1977, many linked to Greene's crew; the FBI placed him under intensive , wiretapping his associates and monitoring his movements amid suspicions he was feeding them selective intelligence. On October 6, 1977, Greene was assassinated by a car bomb planted by Licavoli's men as he left his dentist's office in , the explosion killing him instantly and injuring bystanders. The hit, orchestrated with assistance from the mob, marked the climax of the mob war but backfired spectacularly, as it prompted key informant Danny Greene's associate, , to turn state's evidence against the family. The resulting federal trials in the late 1970s and early 1980s convicted Licavoli and several lieutenants of and , severely weakening the once-powerful and contributing to its long-term decline in influence over the city's rackets.

Source material

The primary source material for Kill the Irishman is Rick Porrello's book To Kill the Irishman: The War That Crippled the Mafia, published in 1998 by Next Hat Press. The book chronicles Danny Greene's protracted conflict with the Cleveland during the 1970s, portraying it as a pivotal gangland war that weakened in the region. Porrello, a former Lyndhurst police chief and organized crime historian, drew on extensive research to construct the narrative, including access to police records and court documents that documented key events in Greene's life and the ensuing violence. He also incorporated family accounts and insights from those connected to the Porrello crime family, linking Greene's story to broader Cleveland Mafia history detailed in his prior work, The Rise and Fall of the Cleveland Mafia (1989). This foundation provided authentic details on the era's turmoil, such as the more than 30 car bombings—many involving vehicles—that terrorized Cleveland and underscored the intensity of the mob feud. The book's emphasis on Greene's defiance and its role in facilitating federal interventions, including FBI operations that further dismantled the , shaped the film's portrayal of his disruptive impact on . Porrello's interviews with surviving participants offered vivid, firsthand perspectives on the bombings and retaliations, adding depth to the historical account without relying solely on official records.

Synopsis

Plot

In 1970s Cleveland, Danny Greene rises from a tough longshoreman and orphaned troublemaker to become of the local longshoremen's union, using his and to clean up and position himself as an for the city's Italian-dominated . He quickly enters the lucrative garbage-hauling , forming an alliance with mob figure while navigating debts to powerful bosses like Tony Salerno. Greene's growing independence and refusal to fully submit to the Italian Mafia spark tensions, leading him to partner with fellow outsider to challenge the established order, establishing the Celtic Club as a base for their Irish-led operations. As rivalries escalate, Greene faces betrayal from former allies like Birns, who attempts to eliminate him over unpaid loans, igniting a violent turf war marked by a series of bombings and assassinations across the city. Greene survives multiple attempts on his life, including a explosion that scars him but fuels his defiant public persona as an anti-Mafia , often taunting his enemies through the press and FBI informants who track the escalating chaos. His personal life intertwines with the conflict, as his relationships, including a romance with a local woman, provide fleeting stability amid the and vendettas. The war culminates in intensified retaliation: Nardi is killed in a ing, prompting Greene to strike back by assassinating Birns in a explosion. Despite further narrow escapes, including another that he miraculously dodges, Greene's luck runs out when a sophisticated planted by a coalition of mobsters, including the Licavoli family and interests, detonates in his vehicle, killing him in 1977. The aftermath sees the FBI dismantle the weakened Cleveland , contributing to the decline of in several major U.S. cities, as narrated by a pursuing reflecting on Greene's mythic yet destructive legacy.

Cast

The film features in the lead role as , portraying the charismatic Irish-American mobster renowned for his defiance against multiple attempts during Cleveland's 1970s mob wars. Key supporting actors include as , Greene's close ally and partner in challenging the Italian Mafia's dominance; as Detective Joe Manditski, a representing figures entangled in the conflict; and as , a prominent and early rival to Greene. Additional notable cast members are as Joan Madigan, Greene's romantic interest and confidante; Marcus Thomas as William "Billy" McComber, one of Greene's trusted associates in his criminal operations; and others such as as James Licavoli, a high-ranking boss. The production boasts an ensemble of approximately 57 credited performers, highlighting a broad array of character roles without prominent cameos.

Development

Inspiration

The inspiration for Kill the Irishman originated from the true story of Danny Greene's audacious challenge to the in the , a period when the city earned the grim nickname ", U.S.A." due to numerous bombings amid escalating gang warfare. Producer Tommy Reid first encountered Greene's tale shortly after graduating from in 1997, drawn by his passion for mob films and real-life crime sagas; he optioned Rick Porrello's forthcoming book To Kill the Irishman: The War That Crippled the even before its 1998 publication, committing to the project for over a decade to bring 's overlooked criminal history to the screen. Reid's motivation was to highlight Greene's adventurous exploits without glorifying violence, viewing the story as a compelling narrative rooted in local lore. Director , known for his work on action-crime scripts like The Punisher (2004), became attached to helm and co-write the film, captivated by Greene's rare blend of charisma and community support that set him apart from typical mob figures. Hensleigh noted the unusual humanity in Greene's character, stating, "People in the neighborhood spoke highly of him... It's very unusual. You don't get that with most of these criminals." This focus on Greene's anti-Mafia crusade—as an Irish outsider defying Italian dominance—provided a fresh angle on ethnic tensions in , echoing dynamics in films like (2006) and Donnie Brasco (1997). The filmmakers aimed to capture the explosive era's intensity while emphasizing Greene's defiant persona, transforming a regional footnote into a broader of power struggles and resilience in .

Screenplay

The screenplay for Kill the Irishman was written by and Jeremy Walters, adapting Rick Porrello's 1998 book To Kill the Irishman: The War That Crippled the . Hensleigh, who also directed the film, expanded the source material by incorporating snappy dialogue, heightened dramatic tension in the mob war sequences, and vivid descriptions of explosive action to suit a cinematic format. This adaptation emphasized the real-life escalation of violence, particularly the numerous bombings, including 21 car bombs in , that occurred during 1976, transforming the book's factual recounting into a taut narrative. Early drafts of the prioritized high-octane sequences and sharp exchanges between characters, deliberately avoiding deep internal monologues or reflective to maintain a fast-paced momentum. Subsequent revisions introduced more personal for protagonist , including his Catholic faith and Irish heritage, which added emotional depth and contextualized his defiant persona amid the criminal underworld. These changes helped balance the script's focus on external conflicts, such as the turf war with the Italian mafia, while underscoring Greene's monologues as key moments that reveal his ideological convictions and bravado. Hensleigh consulted Porrello during development to ensure accuracy in names, events, and sensitivities related to the historical figures depicted. The structural elements of the screenplay centered on a linear narrative that follows Greene's rise from union enforcer to mob leader alongside the intensifying bomb attacks, culminating in the climactic assassination attempt. This framework highlighted set pieces like the car bomb detonations as pivotal turning points, driving the plot's tension and illustrating the chaotic "bombing war" that defined the era. The final shooting script, reviewed by Porrello, streamlined these components to enhance pacing and dramatic impact without altering core historical events.

Casting

Ray Stevenson was attached to star as Danny Greene in early 2009, shortly after his role in Punisher: War Zone (2008), selected for his imposing physical presence and natural Irish heritage that suited the character's accent and background. Supporting roles were filled through announcements in May 2009, with Christopher Walken cast as loan shark Shondor Birns to infuse the character with his signature eccentric intensity. Val Kilmer joined as Detective Joe Manditski, his early attachment helping secure financing alongside Walken's involvement. Vincent D'Onofrio was added as John Nardi later that month, bringing his established reputation for portraying complex, intense figures to the mob enforcer role. The casting process spanned 2009 to 2010, culminating in that summer, with no reported major controversies or last-minute replacements despite the ensemble's high-profile nature.

Production

Pre-production for Kill the Irishman spanned several years following a prolonged period that began in the late 1990s, with principal efforts intensifying after producer Tommy Reid secured key commitments in 2009. The film's budget was set at $12 million, funded primarily through , which handled production and distribution, supplemented by Michigan's that provided approximately $3 million in rebates to offset costs. Location scouting prioritized , , over the story's authentic setting of , , due to the state's generous 40% on qualified expenditures and the city's abundance of abandoned industrial sites that evoked the of . Production designer Patrizia von Brandenstein and location manager Dave Krieger identified key sites including the derelict Tiger Stadium for exterior mob confrontations and various derelict warehouses along Michigan Avenue for interior scenes depicting illicit operations. Director Jonathan Hensleigh, who also co-wrote the screenplay, assembled the core crew in early 2009, drawing from his experience on action-oriented projects to establish protocols for simulating car bombings and explosions central to the narrative. Casting was finalized by mid-2009, with principal roles locked in to align with the production timeline.

Filming

Principal photography for Kill the Irishman commenced in May 2009 and wrapped after seven weeks in June, with the majority of shooting occurring in and around Detroit, Michigan. The production utilized Detroit's urban decay and industrial vibe to double for 1970s Cleveland, requiring minimal alterations to locations such as Butcher's Inn, Cliff Bell's, and the former Old St. John's Church to evoke the era's gritty atmosphere. Director Jonathan Hensleigh selected the city for its tax incentives and visual parallels, stating, "If we were to try to film in one city where we could replicate 1970s Cleveland, it would be Detroit. The landscape is similar, the architecture is similar and the people are similar." The shoot emphasized on-location filming to capture authentic mob environments, including dockside scenes at and Dock Company and exteriors at the now-demolished Tiger Stadium. Cinematographer handled the visuals, employing practical lighting and camera work to convey the period's tense, shadowy underworld. Recreating 1970s presented logistical hurdles, particularly in sourcing and coordinating period-accurate automobiles and wardrobe to immerse audiences in the historical context without relying heavily on sets. Stunt sequences, notably the film's numerous detonations central to the plot's turf , were coordinated with practical effects for realism, including real explosions in select instances to heighten the visceral impact while minimizing digital enhancements.

Post-production

Editing

The editing of Kill the Irishman was performed by Douglas Crise, an Academy Award-nominated editor known for his work on films such as Babel. Crise assembled the raw footage captured during in into a cohesive , resulting in a theatrical runtime of 106 minutes. Critics noted that the contributed to the film's efficient pacing, though some described it as more functional than dynamic in propelling the story's momentum through the biographical events. No extended or significant post-screening alterations have been documented for the release.

Visual effects

The visual effects for Kill the Irishman were supervised by Chris Ervin, who oversaw the integration of digital enhancements to support the film's key action sequences, particularly the series of explosions that drive the narrative. The work was primarily handled by VelocityApe FX, a visual effects company that contributed artists such as Mike Uguccioni, Richard Blankenship, Jennifer Lohrberg, and James Raitt for and digital augmentation. These efforts combined practical from Bob Shelley's Special Effects with elements to depict blasts, debris, and fireballs, ensuring the 1970s Cleveland setting was evoked through period-appropriate visuals like urban smoke and atmospheric lighting. A notable aspect of the production involved enhancing explosion shots to heighten the intensity of Danny Greene's real-life gangland conflicts, though the budget constraints of the $12 million limited the scope. Practical were used for on-set detonations in some sequences, supplemented by digital extensions for safety and scale, resulting in a mix of live-action blasts and computer-generated fire and . Critics observed that while the effects captured the chaotic essence of the bombings, the flames and debris often appeared unnatural, contributing to a sense of modest production values rather than generating any significant controversies over authenticity. These visual elements were seamlessly incorporated into the editing timeline to maintain narrative momentum without overshadowing the performances.

Release

Distribution

The film premiered in at the Landmark Sunshine Cinema on March 7, 2011, with attendance from cast members including and . It then launched with a limited U.S. theatrical release on March 11, 2011, distributed by Anchor Bay Films, opening in five theaters before expanding to 56 screens in early April. Marketing for Kill the Irishman focused on its basis in the true story of , with trailers showcasing high-stakes mob violence, car bombings, and the protagonist's defiant persona to appeal to fans of films. Posters prominently featured Stevenson in a rugged, leather-jacketed pose against a skyline, emphasizing the Irish-American underdog narrative. The rollout was timed to align closely with on March 17, leveraging themes of Irish heritage and resilience to promote screenings at theaters in regions with strong Irish-American communities, such as . Internationally, the film received theatrical releases in select markets, including the on April 7, 2011, while other territories like the opted for distribution starting with Blu-ray on September 26, 2011.

Box office performance

Kill the Irishman had a on March 11, 2011, grossing $145,430 in its opening weekend across five theaters, for an average of $29,086 per screen. The film later expanded but peaked at 56 theaters during its run. Domestically, it earned a total of $1,188,194, representing 100% of its worldwide gross as international earnings were negligible. Produced on a of $12 million, the underperformed commercially, failing to recoup its costs through theatrical earnings alone due to its limited distribution strategy.

Reception

Critical response

"Kill the Irishman" received mixed reviews from critics upon its release, with praise for its cast and period authenticity tempered by criticisms of its formulaic narrative. On , the film holds a 63% approval rating based on 51 reviews, with an average score of 5.9/10. The critics' consensus notes that while the film does not introduce fresh elements to the gangster genre, the efforts of its assembled cast provide added depth to a conventional tale. assigns it a score of 50 out of 100 from 15 critics, indicating mixed or average reviews. Critics frequently highlighted the strong performances, particularly Ray Stevenson's portrayal of Danny Greene as charismatic and commanding, and Christopher Walken's turn as the volatile Shondor Birns. The film's depiction of mob violence was commended for its authenticity, avoiding the sanitized approach common in the and emphasizing the brutal, nature of the conflicts. Reviews from praised the detailed recreation of 1970s , capturing the era's atmosphere through authentic sets and costumes that enhanced the historical context. However, many reviewers found the plot predictable and overly reliant on gangster tropes, drawing unfavorable comparisons to more innovative films in the genre like Martin Scorsese's "." criticized the script for its cloying sentimentality, which undercut the tension in key scenes. The Hollywood Reporter noted uneven pacing, with the narrative dragging in exposition-heavy sections despite bursts of action. Audience reception was more positive, with a 67% score on from over 5,000 ratings.

Home media

Kill the Irishman was released on DVD and Blu-ray by on June 14, 2011. The editions include both the theatrical R-rated version and an unrated , the latter featuring brief additional footage of not present in the release. Both cuts run 106 minutes. Special features on the discs consist of the 60-minute documentary Danny Greene: The Rise and Fall of the , which offers historical commentary on the real-life figure and events depicted in the film, including interviews and archival material. In the years following its physical release, the film became available for digital purchase, rental, and streaming on platforms including (via ) and starting in 2012. By the 2020s, it was also accessible for free streaming on ad-supported services such as . Specific sales figures for home and digital distribution are not publicly detailed, though ancillary revenues from these formats supplemented the film's limited theatrical earnings.

Music

Film score

The original score for Kill the Irishman (2011) was composed by Irish musician Patrick Cassidy, known for his orchestral and choral works in film. Cassidy's contribution features an Irish-influenced sound that complements the story of , an Irish-American labor leader turned mob figure in . The score integrates traditional Irish elements to evoke amid the film's tense crime drama, enhancing atmospheric tension without overshadowing the narrative. It includes cues tailored to key sequences, such as Greene's confrontations. The composition received no major awards or nominations.

Soundtrack album

No official commercial soundtrack album was released for Kill the Irishman (2011). The film's music, composed by Patrick Cassidy, consists primarily of original score cues integrated with licensed period-appropriate songs, such as tunes and tracks, but these were not compiled into a dedicated by any like Varèse Sarabande. A single digital release, "Moth Into the Flame" by The Automatics, was made available on platforms like around the film's March 2011 premiere, serving as the only official music product tied to the movie. Fan-compiled playlists on services like feature selections from the film's songs, including "I'm Gonna Keep on Loving You" by Kool Blues and "Bonny Portmore" by The Rogues, but these are unofficial and do not represent a sanctioned .

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