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‘And remember: Morrie’s wigs are tested against hurricane winds.’

Sight unseen, such a line doesn’t sound like classic movie dialogue. But none of this is normal. This 18-second fake ad, 37 minutes into Goodfellas: what an absurdly quotable piece of footage, a joy for everything it is and everything it isn’t. What an introduction to Morrie, the loveable schmuck, who just seems so happy – if only we could all be as happy as Morrie – so utterly behind this endeavour, so brazenly into the hard sell. The clincher of course is the cheapness: it’s all so wonderfully unsophisticated.

I wrote about this before, briefly, in my investigation into all things Morrie and actor Chuck Low. But more has come to light. So down we go. Another rabbit hole. 

Goodfellas’ Morris Kessler was based on Marty Krugman, a 1970s bookmaker and owner of a hairdressers and wig salon, For Men Only, just up the street from Henry Hill’s Queens nightclub The Suite. As you can read here, the salon doubled as a collection point for betting slips and cash, and was also, in curtained off back rooms, a little den for a bit of gangster business. Henry and made man Paul Vario (Goodfellas’ Paul Cicero) bought hairpieces from Marty, whose wigs were known for their durability. Even underwater.

Much of the business’ reputation was due to Marty’s TV commercials, in which he himself hawked the hairpieces. They would broadcast late at night on Queens Public Television and featured Marty, according to Goodfellas’ source material, Nicholas Pileggi’s book Wiseguy, ‘swimming vigorously across a pool wearing his wig while an announcer proclaimed that Krugman’s wigs always stayed put.’

While researching Morrie a couple of years ago I found, via some audio footnotes on GQ’s Goodfellas oral history, that Scorsese had an idea to include a recreation of Morrie/Marty’s ad in the film. One night, according to Joe Reidy, the first assistant director on Goodfellas, Scorsese saw a crude TV commercial for a windows company called Aalco, and wanted it to look exactly like that. He had his people track down the company’s boss, a man named Stephen Pacca who, they discovered, was also the guy on screen, selling his own product. They called him in for a meeting in view of having him consult on the Morrie ad, then asked him make it himself, just as he did his windows ad. Scorsese left him to it.

I’d looked for Pacca and found that he’d died in 1994. But recently I got a message from his son, Stephen Pacca Jr, who’d seen my blog, loved the bit on his dad, and wanted to give me the whole story. I spoke to him, and to Joe Reidy.

“My dad had gotten into the business in the 1970s, we sold vinyl replacement windows,” says Pacca Jr of his father’s company, Aalco. In the 1980s, Pacca Sr separated from his wife and the business was hit with dire financial problems, and one night after work he and his cousin, the company’s general manager, went for a drink. “After a few drinks sat at the bar, my dad was looped,” says Pacca Jr. “He didn’t drink, so he didn’t have any tolerance for alcohol. He looked at my cousin and he said, ‘Johnny, I’ve got the solution to not go bankrupt – we’re gonna go on television.’ My cousin was looking at him like this was absurd. But my dad said, ‘We’re gonna make a commercial, we’re gonna go on television.’ And that’s exactly what they did.”

His father was probably inspired, says Pacca Jr, by the TV ads for electronics chain Crazy Eddie’s, which ran over 7,500 commercials throughout the ‘70s and ‘80s. The company was named after its Brooklyn owner Eddie Antar; many assumed he was the one screaming his lungs out in the ads, although the on-screen huckster was actually radio DJ Jerry Carroll. “His commercials were a lot more popular than ours,” says Pacca Jr. “The guy was screaming: ‘Our prices are insane!!’ His commercials were wild.” Yes:

Pacca had not previously made anything for television. He approached WNYW – New York’s Channel 5 – and got them to fund the commercial (for around $7,000, says Pacca Jr) in exchange for Pacca buying over $30,000 of airtime a week. But he wrote and made it himself. “He got the help of an advertising agency, but it was just a small guy and all he really did was print my dad’s storyboards,” says Pacca Jr.

“All people remember about our commercial was the money coming out of the window. They don’t remember my dad’s name, they don’t remember the company name. Somebody opens an old window and my dad says, ‘Homeowners, don’t worry about money,’ and then 5000 single dollar bills go through the window. We built a chute behind the window and we had five people just dumping the money in this chute, with big fans, so the money would all blow out the window.”

It worked. “The whole success of that business was the commercial,” says Pacca Jr. “Our business skyrocketed. We had six girls in the office just answering phones. In one year, we went from $1.7m in sales and a staff of five, to $15m in sales and a staff of 250.” And this is why. In all its breathless glory:

“They were so badly made,” says Joe Reidy, Scorsese’s first assistant director on Goodfellas, of Stephen Pacca’s commercials – after the success of the first one, he did a few more. That original one though, says Reidy, was “the one that got Marty’s attention.” Scorsese kept seeing it on TV and was fascinated by it. “The idea of making the wig commercial was just because of Steve Pacca’s ad,” says Reidy. “While we were in pre-production on Goodfellas, the content of the commercial didn’t exist. Then Marty had this idea that Morrie would have this commercial running and it would play in his shop as part of the scene. So that was incorporated in the script, he and [co-writer] Nick Pileggi must have spoken about it.”

You can see in the Goodfellas shooting script, dated January 1989, that it simply has Morrie swimming across a pool, just as Marty Krugman’s ad is described in Wiseguy, with the addition of some minimal Morrie voiceover.

“Marty wanted to make it like that,” says Reidy. “He wanted us to track down who directed the commercial that Steve Pacca was in – we didn’t know he had made it. I can’t remember who actually found him, it could have been me. But we basically called the company to find out who made the commercial, and the call got kicked upstairs quite quickly because it was not a very big company, it went to him. And he said, ‘We made it.’”

Then Scorsese got on the phone. Pacca Jr remembers it well. “I’m sitting in the office one day with the girls answering the phones, and the head girl, Diane, she says to me, ‘Stephen, I got a man on the phone who says he’s Martin Scorsese, and he wants to talk to your father.’ Oh my god, it was really him! And he told my dad he wanted to make a commercial exactly like our window commercial. He was very emphatic about that, he said ‘I want the exact same commercial, but I just want it to be about wigs.’”

Pacca was asked to go and meet Scorsese, “who got very very excited about it,” says Reidy. “It was not even a matter of, ‘Do you wanna meet him and see if it would work out,’ it was, ‘We’re gonna use this guy no matter what.’ And once Marty met him, it was over, it was decided Steve would do it.” After an initial meeting at Scorsese’s office was a follow-up, in which an excitable Pacca went full dog and pony.

“He made a presentation for Marty,” says Reidy. “The man came in with storyboards. They were primitive, but he had designed a commercial, how it would go, he had written a script. He had basically everything in line for shooting it. He drew the wig coming off. He drew off screen, off the edges of the storyboard, where the fan would be placed [to simulate the hurricane winds]. He drew the fishing tackle pulling the wig off, so that people would know how it would be done.”

Swimming pool aside, the ideas were Pacca’s. “Mr Scorsese didn’t tell him to have the guy jump in the swimming pool,” says Pacca Jr. “He didn’t tell him anything. My dad told him what he’d do, that he’d have the actor talking and then we’d print his name at the bottom and then he’ll jump in the pool and the wig’s gonna stay on. And Marty just said, ‘Okay, whatever you say.’ He gave him carte blanche to do what he wanted.”

“What we all agreed on,” says Reidy, “was that Steve would not only direct it, but he would put everything together. The only things we would provide would be the camera and our Director Of Photography, Michael Ballhaus, to shoot it, but he’d take direction from Steve Pacca. Michael had two assistants, and a sound mixer and boom operator, but again only under Steve’s direction. All of the special effects, all the prop work, all the make-up and wardrobe would be done by Steve Pacca’s group, which were really people who worked in his office or installed the windows. Someone operating a fan? His guy, with a fan that they brought. A normal house fan.”

Warner Bros, says Reidy, decided that it would be a kind of unofficial part of the production, giving Pacca freedom to do whatever he wanted. That caused some confusion, says Pacca Jr – his father didn’t realise that Scorsese’s team would give him whatever support he needed, so he just went ahead and took it all on, using his company staff. He rented the Lodi Boys Club in New Jersey, which had an indoor pool, for the interior shoot. It was all too much.

“My dad didn’t realise how time-consuming making this wig commercial was gonna be,” says Pacca Jr. The shoot was only a day or two, but with pre- and post-production, the project took a month. “I said, ‘Dad why don’t you ask the guy to help you?’ He said, ‘No no no, he asked me to make this commercial and I’m gonna deliver him the finished product.’ He wanted to be very proud of his work, you know?”

At some point, chiefly because he wasn’t able to do his day to day job while doing this, Pacca snapped. “He called Mr Scorsese up,” says Pacca Jr, “and he told him he quit! I wasn’t in the room when he had the conversation, he told me afterwards. Mr Scorsese said, ‘What?! You quit? Steve, you can’t quit! There’s too much involved here, we’ve got too much going on!’”

The Morrie ad was the first thing being shot for Goodfellas, which itself was now about a week and a half away from filming. “Mr Scorsese said, ‘Is it about money?’” says Pacca Jr. “And my father said, ‘No no no, I just don’t have time for this, it’s costing me too much money. It is about money, but it’s not the money you’re giving me!’ He was giving my dad $2,500. But my dad, I bet you he spent $10,000 of his own money making this commercial.”

On what? “Well I don’t think he asked for money to rent the boys club. I don’t know who he used for actors, but I know he paid people. This guy’s gonna jump in the pool and his wig’s gonna stay on, it looks like it’s not a big thing, but it is! And Martin Scorsese went crazy: ‘I’ll give you more money!’ And my dad says, ‘You don’t have enough money to give me, because this is costing me my business! It’s not about dollars, it’s costing me time.’ So Marty says, ‘Look, whether it’s about money or not, I’m gonna give you £5,000 instead of $2,500 – please finish this commercial for me.’ So my father finally agreed to finish it.”

And a rejuvenated Pacca did the shoot. He got satin baseball jackets made for his crew, imprinted with the film’s working title, Wiseguy. Scorsese stayed away, determined not to dilute the purity of the project. The Goodfellas hair and wardrobe department provided Morrie’s wig and outfit, and checked that Pacca’s supporting ‘actors’ were dressed accurately for the period. Other than that, Pacca was allowed to just “make the commercial the way he would have made it if he were the wig man,” says Reidy. “The guys who came to do this, they didn’t know anything about filmmaking. The other women in the background [of the commercial]: these were all people Steve Pacca knew. We didn’t interfere, we didn’t suggest any way to make it better.”

Michael Ballhaus, the Goodfellas cinematographer who had previously worked with Scorsese on After Hours, The Color Of Money and The Last Temptation Of Christ, didn’t bring lights. “Michael had seen plenty of bad commercials to know that he wasn’t going to light it,” says Reidy. “He wasn’t going to do anything except turn the lights on inside the pool. And it was just sort of drab as a result. Michael knew that and was very excited about it, he said, ‘It’s gonna be great!’ It was very surreal because he was taking direction from a man who didn’t know anything about directing. Excuse me, no: Steve Pacca knew what he needed to do, what he wanted to do. And Michael was in the spirit, he was very enthused about it.”

Martin Scorsese and Michael Ballhaus on Goodfellas. Photo taken from Alamy, can you tell

And Pacca got Chuck Low to those locations, and told him what to do, and how to do it. Pacca Jr was at the shoot for a bit but, 28 years on, doesn’t remember much. “I just remember him jumping in the pool,” he says. “That was a highlight.”

Pacca edited the ad and submitted it just as we see it in the film. “Marty was so, so pleased with it,” says Reidy. “So happy. He was laughing, he was thrilled, it really broke him up. He really loved it.” And that was that. Scorsese shot Goodfellas, and invited Pacca to the premiere.

Pacca set up another business, for second mortgages, and made an ad for that too. This time he had a horse. “He brought it up the elevator at the Channel 5 studio,” says Pacca Jr. “The horse had saddlebags, and in the saddlebags was money, which all came out somehow.”

Pacca Jr told me a lot about his dad’s highs and lows, about how he’d make millions then go broke, then make millions again, then go broke again. At one point he built a recording studio in his office, “with speakers that cost $15,000 a piece. I guess he always had wanted to be in showbusiness in some way. He would sing, he would record music, he made a couple of records with pictures of him on the front. But it never took off.” Having grown up poor, says Pacca Jr, his father deemed it important to always have a new car so bought a new Cadillac convertible every year, whether he could afford to or not. He would, says Pacca Jr, drive through Harlem and have people wave and call out his name, such was his fame from the TV commercials. He was known to pull over and give homeless people $200: “He just was very generous to strangers.”

I asked Pacca Jr how his father died. Around 1989, he says, Pacca had kidney failure, and was put on dialysis for two years. Pacca Jr pleaded with him to take one of his kidneys, but he refused right up to the last minute. Finally, after a third emergency visit to hospital in the space of a month, he insisted. “I looked at him that day in the hospital and said, ‘Look, if you don’t take my kidney, you’re gonna die. It’s as simple as that. You almost died tonight.” Pacca agreed, and the operation was scheduled for Christmas Eve morning: “It was a nice Christmas present for me to give to him.”

In 1994 though, Pacca had a heart attack. “He climbed up to the fifth floor of a building, surveying the building to do 500 windows for a guy, and he sat down in the guy’s kitchen, turned blue and dropped dead. But he got three or four good years when he wasn’t suffering. I was happy to be able to be a part of that.”

We’ve all got a lot of happiness from Stephen Pacca. So think of him when you watch that Morrie’s Wigs ad. Just a simple window salesman who made a piece of movie history. And please. Don’t throw money out of the window.

And that’s that.

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