Early Scenes: An Excerpt from Al Pacino’s Memoir “Sonny Boy”

My mother began taking me to the movies when I was a little boy of three or four. She worked at factory and other menial jobs during the day, and when she came home I was the only company she had. Afterward, I’d go through the characters in my head and bring them to life, one by one, in our apartment.

The movies were a place where my single mother could hide in the dark and not have to share her Sonny Boy with anyone else. That was her nickname for me. She had picked it up from the popular song by Al Jolson, which she often sang to me.

When I was born, in 1940, my father, Salvatore Pacino, was all of eighteen, and my mother, Rose Gerardi Pacino, was just a few years older. Suffice it to say that they were young parents, even for the time. I probably hadn’t even turned two when they split up. My mother and I lived in a series of furnished rooms in Harlem and then moved into her parents’ apartment, in the South Bronx. We hardly got any financial support from my father. Eventually, we were allotted five dollars a month by a court, just enough to cover our expenses at my grandparents’ place.

The earliest memory I have of being with both my parents is of watching a movie with my mother in the balcony of the Dover Theatre when I was around four. It was some sort of melodrama for adults, and my mother was transfixed. My attention wandered, and I looked down from the balcony. I saw a man walking around below, looking for something. He was wearing the dress uniform of an M.P.—my father served as a military-police soldier during the Second World War. He must have seemed familiar, because I instinctively shouted out, “Dada!” My mother shushed me. I shouted for him again: “Dada!” She kept whispering, “Shh—quiet!” She didn’t want him to find her.

He did, though. When the film was over, I remember the three of us walking down a dark street, the Dover marquee receding behind us. Each parent held one of my hands. Out of my right eye, I saw a holster on my father’s waist, a huge gun with a pearl-white handle sticking out of it. Years later, I played a cop in the film “Heat,” and my character carried a gun with a handle like that. Even as a child, I understood: That’s dangerous. And then my father was gone, off to the war. He eventually came back, but not to us.

My mother’s parents lived in a six‐story tenement on Bryant Avenue, in a three-room apartment on the top floor, where the rents were cheapest. Sometimes we would have as many as six or seven people living there at once. I slept between my grandparents or in a daybed in the living room, where I never knew who might end up camped out next to me—a relative passing through town, maybe my mother’s brother, back from his own stint in the war. He had been in the Pacific and would take wooden matchsticks and put them in his ears to drown out the explosions he couldn’t stop hearing.

My mother’s father was born Vincenzo Giovanni Gerardi, and he came from an old Sicilian town whose name, I would later learn, was Corleone. When he was four years old, he came to America, possibly illegally, where he became James Gerardi. By then, he had already lost his mother; his father, who was a bit of a dictator, had remarried and moved with his children and new wife to Harlem. My grandfather didn’t get along with his stepmother, so at nine he quit school and ran away to work on a coal truck. He didn’t come back until he was fifteen. He wandered around upper Manhattan and the Bronx—this was in the early nineteen-hundreds, when it was still largely farmland—doing apprentice jobs or working in the fields. He was the first real father figure I had.

When I was six, I came home from my first day of school and found him shaving in our bathroom. He was in front of the mirror, in a BVD shirt with his suspenders down at his sides. I was standing in the open doorway.

“Granddad, this kid in school did a very bad thing. So I went and told the teacher, and she punished that kid.”

Without missing a stroke, my grandfather said, “So you’re a rat, huh?” It was a casual observation, as if he were saying, “You like the piano? I didn’t know that.” His words hit me right in the solar plexus. I never ratted on anybody in my life again. (Although right now, as I write this, I guess I’m ratting on myself.)

His wife—my grandmother Kate—had blond hair and blue eyes, like Mae West, which was a rarity among Italians. We were the only Italians in our neighborhood, and she was known for her kitchen. When I’d be going out the door, she would stop me with a wet cloth, which always seemed to be in one of her hands, to say, “Wipe the gravy off your face. People will think you’re Italian.” America had just spent four years fighting Italy, and though many Italian Americans had gone overseas to help, others were labelled enemy aliens and put in internment camps. There was still a stigma against us.

Our little stretch between Longfellow Avenue and Bryant Avenue, from 171st Street up to 174th Street, was a mixture of nationalities and ethnicities. In the summertime, when we went on the roof of our tenement to cool off because there was no air-conditioning, you’d hear all kinds of languages and dialects. The farther north you went, the more prosperous the families were. We were not prosperous. We were getting by. My grandfather was a plasterer who worked during the week. Plasterers were highly sought after at the time. He had developed an expertise and was appreciated for what he did. He built the wall that separated our alleyway from the alleyway of the building next door for our landlord, who loved it so much that he kept our family’s rent at thirty-eight dollars and eighty cents a month for as long as we lived there.

I was an only child, and until I was six I wasn’t allowed out of the tenement by myself—the neighborhood was somewhat unsafe. My only companions, aside from my grandparents, my mother, and a little dog named Trixie, were the characters I brought to life from the movies. I had a little silent routine I did for my relatives from “The Lost Weekend”—starring Ray Milland as a self‐destructive alcoholic—in which I pretended to ransack an apartment, looking for booze. The grownups seemed to find it amusing. Even at five years old, I would think, What are they laughing at? This man is fighting for his life.

My mother was a beautiful woman, but she was emotionally fragile. She would occasionally visit a psychiatrist when Granddad had the money to pay for her sessions. I wasn’t aware that my mother was having problems until one day when I was six years old and getting ready to go out and play. I was sitting in a chair in the kitchen while my mother laced up my shoes and put a sweater on me to keep me warm, and I noticed that she was crying. I wondered what the matter was, but I didn’t know how to ask. She was kissing me all over, and right before I left she gave me a great big hug. It was unusual, but I was eager to get downstairs and meet up with the other kids, and I gave it no more thought.

We had been outside for about an hour when we saw a commotion in the street. People were running toward my grandparents’ tenement. Someone said to me, “I think it’s your mother.” I didn’t believe it, but I started running with them. There was an ambulance in front of the building, and there, coming out the front doors, carried on a stretcher, was my mother. She had attempted suicide.

This was not explained to me; I had to piece together what had happened. I knew that she had left a note and that she was sent to recover at Bellevue Hospital. That period is kind of a blank to me, but I do remember sitting around the kitchen table, where the grownups were discussing what to do. Years later, I made the film “Dog Day Afternoon,” and one of its final images, showing the actor John Cazale’s character, already dead, being taken away on a stretcher, made me think of the moment I saw my mother brought out to that ambulance. But I don’t think she wanted to die then, not yet. She came back to our household alive, and I went out into the streets.

As a kid, I ran with a crew that included my three best friends: Cliffy, Bruce, and Petey. We were on the prowl, hungry for life. To this day, one of my favorite memories is coming down the stairs and out onto the street in front of my tenement building on a bright Saturday morning in the spring. I couldn’t have been more than ten years old. I remember looking down the block, and there was Bruce, about fifty yards away. He turned and smiled, and I smiled, too, because we knew the day was full of potential.

Every few blocks were vacant lots where victory gardens had been planted at the height of the war. By then, they were wrecked and full of debris. Once in a while, when you looked down at the sidewalk along the lots, you’d see a blade of grass growing up out of the concrete. That’s what my friend, the acting teacher Lee Strasberg, once called talent: a blade of grass growing up out of a block of concrete.

One winter day, I was skating on the ice over the Bronx River. We didn’t have ice skates, so I was wearing a pair of sneakers, doing pirouettes, showing off for my friend Jesus Diaz, who was standing at the shore. One moment I was laughing and he was cheering me on, then suddenly I broke through the surface and plunged into the freezing water below. Every time I tried to crawl out, the ice broke further and I kept falling back in. I think I would have drowned if it wasn’t for Jesus Diaz. He found a stick twice his size, spread himself out as far as he could from the shore, and pulled me to safety.

Another day, I was walking on top of a thin, iron fence, doing my tightrope dance. It had been raining all morning, and, sure enough, I slipped and fell, and the iron bar hit me directly between my legs. I was in such pain that I could hardly walk. An older guy saw me groaning in the street, picked me up, and carried me to my aunt Marie’s apartment. She was my mother’s younger sister, and she lived on the third floor in the same building as my grandparents. The Samaritan threw me on a bed and said, “Take care, man.”