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Men of Respect
Men of Respect
Men of Respect
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Men of Respect
Directed byWilliam C. Reilly
Written byWilliam C. Reilly
William Shakespeare
Produced byEphraim Horowitz
Starring
CinematographyBobby Bukowski
Edited byElizabeth Kling
Music byMisha Segal
Distributed byColumbia Pictures
Release dates
  • May 1990 (1990-05) (France)
  • January 18, 1991 (1991-01-18) (U.S.)
Running time
113 minutes
CountryUnited States
LanguagesEnglish
Spanish
Box office$139,155[1]

Men of Respect is a 1990 crime drama film, an adaptation of William Shakespeare's play Macbeth. It stars John Turturro as Mike Battaglia, a Mafia hitman who climbs his way to the top by killing his boss.

The film also stars Rod Steiger, Stanley Tucci, Dennis Farina and Peter Boyle and is directed by William C. Reilly. It is not the first film to transplant Macbeth to the American mob culture; this was done in the 1955 film Joe MacBeth.

Plot

[edit]

Mike Battaglia, a powerful lieutenant in the D’Amico crime family, executes a large-scale hit on the family's enemies, earning a promotion to a caporegime and the undying respect of his boss, Don Charlie D'Amico. Despite the Don's generosity, however, Battaglia secretly resents D'Amico for passing him over as his successor.

At the instigation of Ruthie, his wife, Battaglia murders D'Amico and has his sons shipped off to Florida, clearing the way for him to assume control of the D'Amico family. He becomes an underworld despot, deciding to kill anyone he suspects as a threat to his power, including former ally Bankie Como and his unconnected son, Philly, who survives an assassination attempt.

At his coronation as boss, a drunken Battaglia alienates two more of the mob's powerful soldiers. Afraid that Battaglia's reign will spell the end of the D'Amico family, several of Battaglia's underlings desert him and ally themselves with D'Amico's eldest son, Mal.

Battaglia puts a hit out on his chief rival, Matt Duffy, but the assassins cannot find him, instead murdering his wife and son. Ruthie commits suicide out of guilt, which devastates Battaglia. Determined to get revenge for the death of his family, Duffy comes to kill Battaglia, who arrogantly proclaims that "no man of woman born" can harm him. Duffy responds that he was delivered via caesarian section, and therefore was not technically born of a woman. Disposing of Battaglia, he clears the way for Mal to assume control of the family.

Reception

[edit]

The film has been praised for its accuracy in depicting Mafia rituals, which are said to be more authentic than those in The Godfather or GoodFellas. However the film failed to please audiences or critics: Leonard Maltin found it "pretentious" and "unintentionally comic" and Daniel Rosenthal describes it as "providing the most risible chunks of modernised Shakespeare in screen history."[2][3]

Cast

[edit]
Actor Role Macbeth equivalency
John Turturro Mike Battaglia Macbeth
Katherine Borowitz Ruthie Battaglia Lady Macbeth
Dennis Farina "Bankie" Como Banquo
Peter Boyle Matt Duffy Macduff
Rod Steiger Charlie D'Amico King Duncan
Steven Wright Sterling Porter
Stanley Tucci Mal D'Amico Malcolm
Carl Capotorto Don D'Amico Donalbain
Michael Badalucco Sal Seyton
Robert Modica Carmello Rossi Ross
David Thornton Philly Como Fleance
Dan Grimaldi Carmine Caithness
Joseph Carberry Leonetti Lennox
Richard Petrocelli Artie Angus
Edward Gallardo Manuel Menteith
Joseph Ragno Padrino Ricci Siward

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Men of Respect

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from Grokipedia
Men of Respect is a 1990 American crime drama film written and directed by William Reilly in his feature directorial debut, serving as a loose modern adaptation of William Shakespeare's tragedy Macbeth transposed to the Italian-American Mafia underworld of New York City. The film centers on Mike Battaglia (John Turturro), a mid-level enforcer in the D'Amico crime family, whose life unravels after he receives a prophetic vision from a trio of gypsy women foretelling his ascension to leadership, prompting him—egged on by his ruthless wife Ruthie (Katherine Borowitz)—to murder the family boss, Charlie D'Amico (Rod Steiger). This act propels Mike to the top of the syndicate but unleashes a spiral of paranoia, betrayal, and violence as he grapples with guilt and mounting threats from rivals and allies alike, mirroring the themes of ambition, fate, and moral decay in Shakespeare's original play. Supporting performances include Dennis Farina as Bankie Como, Peter Boyle as Matt Duffy, and early roles for Stanley Tucci and Tony Sirico as mob soldiers. Principal photography took place over six weeks from August 28 to October 13, 1989, primarily in , New York, on a modest budget produced by Arthur Goldblatt Productions. Reilly, then an at New York University's Tisch School of the Arts, drew from his academic background in Shakespeare to craft the , emphasizing psychological depth over action spectacle in the gangster genre. Distributed by , the film had its world premiere at the 14th on August 23, 1990, before its limited U.S. theatrical release on January 18, 1991, where it earned a domestic gross of $119,800 against an undisclosed budget. Critically, Men of Respect received mixed reviews, praised for its strong ensemble acting—particularly Turturro's intense portrayal of moral disintegration and Borowitz's commanding presence—but often critiqued for its overly stylized, shadowy visuals and uneven fusion of Shakespearean with mob , which some found pretentious or confusing. awarded it 1 out of 4 stars, noting its "dark, moody atmosphere" and witty lines amid the gloom, while acknowledging unintended comedic elements in the dense plotting. On aggregate sites, it holds an user rating of 5.5/10 from over 1,000 votes and a audience score of 41% based on more than 250 ratings, reflecting its cult status among fans of literary adaptations and indie crime films despite limited mainstream success.

Production

Development

William Reilly conceived Men of Respect as a contemporary transposition of William Shakespeare's Macbeth into the milieu of the New York , drawing inspiration from the play's themes of ambition, , and moral decay to explore dynamics. Reilly, who wrote and directed the film, developed the script in the late 1980s, incorporating authentic details from his research into rituals and hierarchies to ground the adaptation in realistic underworld practices. This approach distinguished the film by emphasizing procedural accuracy in mob operations, surpassing many prior gangster narratives in its depiction of ceremonial initiations and power structures. The screenplay retained the core structure of Shakespeare's tragedy while infusing it with influences from iconic Mafia films like Francis Ford Coppola's trilogy, which provided a template for blending familial loyalty with criminal intrigue. A key innovative element was the selective retention of Shakespearean dialogue in pivotal scenes—such as soliloquies recontextualized amid profane street vernacular—to underscore the tragic of the protagonists, a stylistic choice absent from earlier adaptations like Ken Hughes's Joe Macbeth (1955), which fully modernized the language into . Securing production funding presented significant hurdles for Reilly's debut feature, but the project gained traction through partnerships with producer Ephraim Horowitz and backing from Central City Films and Arthur Goldblatt Productions. ultimately handled distribution, committing to a modest of approximately $2 million that allowed for a lean, character-driven production focused on atmospheric tension rather than spectacle. This financial restraint shaped the film's intimate scale, prioritizing psychological depth over expansive action sequences while preserving the essence of Shakespeare's within a gritty 1990s urban framework.

Casting

The lead role of Mike Battaglia, the film's central figure analogous to Macbeth, was portrayed by . Katherine Borowitz was cast as Ruthie Battaglia, the ambitious and guilt-ridden wife equivalent to . Supporting roles featured established actors with backgrounds in crime genres: as the patriarchal Don Charlie D’Amico (Duncan), as the loyal Bankie Como (), as the vengeful Matt Duffy (Macduff), and as the strategic Mal D’Amico (Malcolm). Director William Reilly prioritized Italian-American performers where possible to ensure cultural authenticity in the Mafia setting, resulting in approximately 20 principal roles filled by a mix of seasoned and emerging talents. A key casting choice was to eschew major in favor of character actors to preserve the film's gritty, realistic tone; Tucci's performance in particular served as an early breakout opportunity in his career.

Filming

Principal photography for Men of Respect commenced on August 28, 1989, and concluded on October 13, 1989, in and around , primarily in . The production utilized various urban locations to capture the film's Mafia setting, including a Manhattan court building, interconnecting basements of tenement buildings on the , unspecified sites in , the courtyard, street fairs in and (Saint Gennaro and Villa Avenue), and the skyline; a grand estate in , served as the residence of Mafia boss Charlie D’Amico, and one specific venue was 239 West 4th , which served as the restaurant. Cinematographer Bobby Bukowski handled the visuals, shooting on 35mm color film with spherical lenses and employing dim lighting to heighten the sense of and tension throughout the narrative. Editor Elizabeth Kling assembled the footage in , yielding a final running time of 113 minutes. The film's budget was reported at $2 million, with no significant overruns documented.

Narrative

Plot

In the opening act, Mike Battaglia, a loyal hitman for the , leads a brazen execution against the family's rivals in a restaurant, gunning down Ali "The Greek" Bernacci and his associates alongside his partner Bankie Como. Fleeing the scene amid a stormy night, Mike and Bankie seek shelter in a where they encounter an elderly street informant, Lucia, who delivers a chilling : Mike will rise to become the Padrino (boss) of the organization, though no man born of woman shall harm him, and omens will guide his path. Impressed by Mike's decisive action and loyalty, Don Charlie D'Amico promotes him to during a tense gathering at his estate, setting the stage for Mike's ambition within the hierarchical structure. Influenced by his ambitious wife, Ruthie, who urges him to seize ultimate power rather than settle for subservience, Mike begins plotting against Charlie, culminating in his during a private visit framed as a moment of vulnerability. Assuming the role of Padrino, Mike consolidates control by systematically eliminating perceived threats, including the of his former ally Bankie , whose haunts Mike through hallucinatory visions interpreted as ghostly warnings akin to omens. These elements, blending prophecies and apparitions, underscore the narrative's progression in three acts, mirroring a classic tale of ambition and betrayal while integrating omens as portents within the crime world. As paranoia grips Mike, he experiences a hallucinatory breakdown at a lavish banquet, perceiving disloyalty among his underlings and further isolating himself from his family, including threats to Ruthie's safety. His growing instability leads to a climactic ambush orchestrated by rival , who exploits Mike's overconfidence in to confront him directly. In the resolution, Mike's downfall unfolds through betrayal and violence, paving the way for Mal D'Amico's ascension as the new leader and perpetuating the endless cycle of power struggles.

Cast and characters

John Turturro portrays Mike Battaglia, an ambitious hitman whose arc traces a descent from loyalty to a tyrannical boss, driven by a prophetic encounter and his wife's encouragement, mirroring Macbeth's tragic ambition. Turturro's performance is marked by intense physicality and emotional volatility, conveying the character's growing and as he eliminates rivals to seize power. Katherine Borowitz plays Ruthie Battaglia, Mike's manipulative wife who propels his rise through calculated persuasion but succumbs to guilt-induced breakdown, echoing Lady Macbeth's psychological unraveling. Her portrayal balances sleek determination with subtle emotional fragility, particularly in scenes revealing her inner turmoil. Among the supporting characters, Dennis Farina's Bankie Como serves as Mike's betrayed confidant, whose loyalty unravels into tragic irony through a perceived threat, akin to Banquo's fate. Farina delivers a natural, grounded performance that underscores the personal cost of . Peter Boyle embodies Matt Duffy, a vengeful outsider whose simmering rage builds toward confrontation, paralleling Macduff's role as avenger. Rod Steiger's Don Charlie represents the paternal mob patriarch, whose authoritative trust in Mike leads to his ironic downfall, reminiscent of Duncan's vulnerability. Stanley Tucci appears as Mal, the hopeful successor whose interactions with the ensemble highlight shifting alliances and underlying tensions within the . The ensemble dynamics amplify the film's tragic irony, as alliances fracture and suspicions escalate, with each character's motivations—, ambition, or —interlocking to heighten dramatic conflict. Performance highlights include Turturro's commanding intensity and Steiger's authoritative gravitas, which anchor the group's portrayals amid the setting.

Themes and style

Shakespearean adaptation

Men of Respect (1990), directed by William Reilly, transposes the structure of William Shakespeare's into a contemporary New York Mafia narrative, maintaining a close scene-by-scene correspondence while substituting feudal with hierarchies. The are consolidated into a single fortune teller, portrayed by , who delivers the pivotal prophecy to protagonist Mike Battaglia (), whose wife Ruthie (Katherine Borowitz) echoes Lady Macbeth's urging, foretelling his ascension to boss after a successful hit. Thanes and lords become capos and underbosses within the syndicate, with the royal castle reimagined as a and Italian restaurant in , grounding the intrigue in urban mob dynamics. The film's dialogue integrates key Shakespearean elements, often retaining soliloquies and phrases with minimal alteration to suit the setting, such as the "" hallucination recontextualized as dripping from the ceiling before the , symbolizing impending violence with guns rather than blades. Iconic lines like the prophecy's assurances are lifted directly but updated linguistically—for instance, "All of these guys is of woman born" paraphrases the witches' , while ironic Elizabethan contrasts with profane mob , heightening the tension in scenes like Ruthie's manipulation of Mike. This blend preserves the play's rhetorical intensity, adapting the "Is this a which I see before me" to evoke psychological torment amid modern weaponry. Central motifs from are recalibrated to fit the crime genre: , representing indelible guilt, manifests through graphic crime scenes and Mike's confusion of a victim's with Chianti wine, amplifying the play's imagery of inescapable stains in a world of hits and betrayals. Ambition shifts from royal usurpation to ruthless ascent in the Mafia pecking order, where loyalty oaths and power grabs mirror thanes' fealties, with the witches' prophecy scene enhanced briefly by syndicate rituals like oaths of . The encroaching Birnam Wood becomes urban , signaled by lines like "We're not outta the woods yet," tying inevitability to mob retribution. Unlike the source material's expansive timeline spanning years, Men of Respect compresses events into a taut 113-minute runtime to heighten immediacy, incorporating elements such as car bombs, subways, and automatic weapons for Duncan's murder (here, the boss's ) without deviating from the tragic downfall driven by and fate. The core arc—, , tyranny, and —remains intact, but supernatural apparitions are rationalized through psychological strain rather than overt magic. In historical context, Men of Respect builds on earlier gangster adaptations like the 1955 Joe Macbeth, which rendered Shakespeare's tragedy as a pulpy noir thriller, but Reilly's version prioritizes psychological realism, delving deeper into the protagonists' inner turmoil and moral decay amid codes, reflecting late-20th-century fascination with organized crime's existential undercurrents.

Depiction of Mafia culture

The film portrays the as a tightly knit of top-ranking members operating in a discreet, glowering world marked by betrayal, menace, and internal power struggles, reflecting the structure of families in New York. Central to this depiction is the chain of command, with a boss overseeing lieutenants and successors, where ambition drives characters to eliminate through calculated violence, echoing the dynamics of real Mafia successions without romanticizing the process. This structure is mirrored in family-like dynamics among the men, who navigate loyalty and suspicion in everyday settings like restaurants and basements, emphasizing the precarious balance of authority within Italian-American crime syndicates. Cultural authenticity is achieved through a dingy, scraped visual palette and New York Italian-American vernacular, capturing the vitality and dangerous elegance of mob dialogue laced with stylized profanity and tight-lipped restraint. The use of regional accents and casual rituals, such as middle-aged men in suits grilling steaks amid threats of violence, grounds the portrayal in the socio-economic backdrop of urban decline, symbolizing the fading influence of traditional power in post-1980s amid legal pressures like the RICO Act. Family meals and interpersonal tensions highlight the and omertà-like discretion, though the film avoids glorification by focusing on the moral decay inherent in these bonds, portraying the organization as a source of inevitable corruption rather than heroic enterprise. Critiques of the film's realism note its distinction from the more operatic stylization of earlier Mafia epics like The Godfather series, opting instead for a gritty, believable texture without veering into fantasy. Elements of Catholic guilt permeate the narrative, manifesting as profound remorse and psychological torment following acts of betrayal, underscoring the ethical erosion within the culture. This approach presents the Mafia not as invincible but as a decaying institution riven by internal conflict and moral ambiguity.

Release and reception

Premiere and distribution

Men of Respect had its international debut screenings at the in the market section on May 12, 15, and 17. The film's world premiere took place as a gala screening at the 14th on August 23, 1990. It was subsequently screened at other festivals, including the later that year. Columbia Pictures handled distribution in the United States, where the film received a on January 18, 1991, opening in art-house theaters in New York and . The rollout targeted niche audiences interested in its Shakespearean adaptation within a context, with no plans for a due to its specialized appeal. The film had limited international distribution in parts of and following its festival screenings. Marketing efforts highlighted the film's unique blend of Shakespeare's Macbeth and organized crime, as seen in promotional trailers that teased the mafia twist on classic tragedy. Posters prominently featured star in a suited pose evoking both gangster and Shakespearean imagery, such as holding a . The film was released in 35mm format for theaters, with subtitles provided for bilingual markets including Spanish. The Motion Picture Association of America rated Men of Respect for violence, which aligned with its content and facilitated clearance for distribution following festival buzz.

Box office performance

Men of Respect had a in the United States, opening on January 18, 1991, distributed by . The film earned $82,841 during its opening weekend across 33 theaters, achieving a per-screen average of $2,510. Over its domestic run, it grossed a total of $139,155, with the majority of earnings occurring in the first week before declining sharply. The film's underperformance can be attributed to its limited release strategy and competition from major blockbusters during the weekend, such as , which topped the with over $11 million that weekend. Its niche appeal, blending Shakespearean elements with themes, likely restricted broader audience interest compared to mainstream crime films like the ' (1990), which earned $5.08 million domestically despite a similar independent production scale. International earnings were negligible, resulting in a worldwide total of $139,155. While the theatrical release was brief and modest, ancillary markets such as provided additional revenue streams in subsequent years, though the initial results marked it as a commercial disappointment.

Critical response

Upon its release in January 1991, Men of Respect received mixed reviews from critics, who praised its bold adaptation of Shakespeare's into a Mafia setting while often criticizing its execution as uneven and overly ambitious. The film earned recognition for John Turturro's intense performance as the ambitious hitman Mike Battaglia, portrayed as a "wild-eyed, desperate weakling" who fits seamlessly into the archetype, elevating the material with his raw energy. Reviewers also noted authentic details in the depiction of culture, such as the gritty New York underworld dynamics and supporting turns by actors like as the loyal Bankie Como, which added credibility to the crime syndicate atmosphere. However, the film's stylistic choices, including shadowy visuals and dense, Shakespearean-inflected dialogue, were seen as straining too hard to blend high literature with lowbrow mob tropes, resulting in moments of pretentiousness. Critics frequently highlighted the adaptation's uneven tone, with some unintended comedic elements arising from forced parallels between Elizabethan tragedy and modern gangland violence. Roger Ebert awarded it two out of four stars, describing the underlying concept as "a very, very bad idea" that overwhelms the characters with excessive guilt and literary weight. Similarly, Daniel Rosenthal later characterized the film as "risible," pointing to its awkward New York-set transposition of the Scottish play. The Los Angeles Times called it an "ambitious film" with interesting cinematography but faulted the script for being "too often flat and prosaic," undermining its potential. In contrast, the New York Times appreciated its "eccentricity, weird inventiveness and sheer nerve," positioning it as a nutty standout amid January's lackluster releases. Rolling Stone echoed this, noting that the film "earns respect for trying to be more than fluff" during the post-holiday movie doldrums. Aggregate scores reflected this divide, with reporting a 41% approval rating based on 15 critic reviews. No Metascore was available due to insufficient reviews at the time. Initial contemporary feedback emphasized the film's originality in reimagining through a lens of , though many felt it fell short of its lofty ambitions. In retrospective assessments, Men of Respect has garnered appreciation in indie film circles for its cult appeal, with later reviews lauding Turturro and Katherine Borowitz's committed performances and the film's atmospheric take on lore, even if the Shakespearean elements remain divisive.

Legacy

Cultural impact

Men of Respect has garnered scholarly interest for its bold transposition of Shakespeare's into a contemporary Mafia framework, contributing to discussions on genre hybridization in film adaptations. Film historian Douglas Brode, in his 2000 book Shakespeare in the Movies: From the Silent Era to , dedicates a chapter titled "Fatal Vision" to the film, commending its portrayal of Mafia rituals as more authentic than previous depictions, including those in Francis Ford Coppola's . Brode highlights how the adaptation innovatively translates Elizabethan verse into New York street idiom, emphasizing the film's gritty realism and its role in recontextualizing within American narratives. Academic analyses have also examined the film's exploration of and within culture. In a paper presented at the Shakespeare Association of America, Katharine Ormsby analyzes Men of Respect as a adaptation that underscores hyper-masculine displays of dominance and violence, using generic tropes like and to construct the protagonists' identities. The study connects these elements to broader themes in , arguing that the film reflects societal anxieties about manhood through its depiction of ambition-fueled brutality in a patriarchal . The film's influence extends to its place among 1990s Shakespeare-crime hybrids, referenced in studies of postmodern adaptations for blending literary classics with mob film conventions.

Home media and availability

Following its limited theatrical run, Men of Respect was first made available on in the United States via on June 26, 1991, distributed by Columbia Home Video as a closed-captioned release. The film saw a DVD release on October 14, 2003, from , featuring basic extras such as the original theatrical trailer but no additional commentary or behind-the-scenes content. A Blu-ray edition marked the film's debut in high-definition home media, released on July 31, 2024, by Imprint Films in a limited edition of 1,500 copies, region-free and praised for its high-quality transfer from the original film elements. The release has received positive reviews for restoring the film's moody visuals and introducing it to new audiences. continues to hold the copyrights, ensuring the film remains out of the and under active distribution control. As of November 2025, Men of Respect is accessible for free streaming on ad-supported platforms like , while options to rent or purchase digitally are available on services including , Apple TV, and at Home. Internationally, the film received subtitled home video releases in starting in the early 1990s, with a Spanish-dubbed version distributed to Latin American markets from 1991 onward, aligning with its theatrical rollout under the title Hombres de respeto. This streaming availability has contributed to a modest cultural revival, introducing the film to new audiences beyond its initial niche reception.

References

  1. https://www.rottentomatoes.com/m/men_of_respect
  2. https://www.tcm.com/tcmdb/title/83296/men-of-respect
  3. https://www.rogerebert.com/reviews/men-of-respect-1991
  4. https://www.imdb.com/title/tt0102432/
  5. https://catalog.afi.com/Catalog/moviedetails/58942
  6. https://www.latimes.com/archives/la-xpm-1991-01-18-ca-317-story.html
  7. https://repositorio.ufsc.br/bitstream/123456789/93349/1/270320.pdf
  8. https://www.imdb.com/title/tt0102432/fullcredits/
  9. https://cinemaretro.com/index.php?/archives/12792-REVIEW-MEN-OF-RESPECT-1991-STARRING-JOHN-TURTURRO%3B-IMPRINT-BLU-RAY-RELEASE.html
  10. https://www.imdb.com/title/tt0102432/locations
  11. https://www.imdb.com/title/tt0102432/fullcredits
  12. https://thedigitalbits.com/item/men-of-respect-imprint-2024-bd
  13. https://www.timeout.com/movies/men-of-respect
  14. https://cinemorgue.fandom.com/wiki/John_Turturro
  15. https://thedigitalbits.com/reviews/item/men-of-respect-imprint-2024-bd
  16. https://www.nytimes.com/1991/01/18/movies/review-film-car-bomb-and-chianti-in-macbeth-variation.html
  17. https://teachers.yale.edu/download/units/07_01_03.pdf
  18. http://userhome.brooklyn.cuny.edu/anthro/jbeatty/COURSES/Macbeth/L5.htm
  19. https://www.cambridge.org/core/books/macbeth/introduction/184C4370360F41B30982D1F8C3EEDC71
  20. https://www.youtube.com/watch?v=5HmrGHI39ns
  21. https://www.movieposters.com/products/men-of-respect-mpw-69762
  22. https://www.boxofficemojo.com/title/tt0102432/
  23. https://www.boxofficemojo.com/release/rl174228993/weekend/
  24. https://www.the-numbers.com/box-office-chart/weekend/1991/01/18
  25. https://www.bbc.co.uk/programmes/articles/5FCTyG4GNc0Y6nht1Z59d48/the-united-nations-of-screen-shakespeare
  26. https://www.rollingstone.com/tv-movies/tv-movie-reviews/men-of-respect-114915/
  27. https://www.deseret.com/1991/1/24/20088117/film-review-men-of-respect/
  28. https://shakespeareassociation.org/wp-content/uploads/2016/03/Masculinity-and-the-Body.pdf
  29. https://list.fandom.com/wiki/1991_in_home_video
  30. https://www.amazon.com/Men-Respect-Katherine-Borowitz/dp/B0000BXMZ2
  31. https://www.blu-ray.com/movies/Men-of-Respect-Blu-ray/360200/
  32. https://www.justwatch.com/us/movie/men-of-respect
  33. https://reelgood.com/movie/men-of-respect-1990
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