Let's be honest. When you think of Al Capone, you probably think of The Untouchables or maybe Tom Hardy looking unrecognizable and sickly in that weird 2020 biopic. You definitely don’t think of a guy in a monochrome suit trying to negotiate with an Egyptian pharaoh inside the Smithsonian. But that’s exactly what we got.
Al Capone Night at the Museum 2—officially titled Battle of the Smithsonian—gave us one of the most bizarrely entertaining versions of the Chicago mob boss ever put to film. It’s been years since the movie came out in 2009, but people are still searching for this specific version of Capone. Why? Because Jon Bernthal, before he was the Punisher or the star of The Bear, absolutely nailed a role that could have been a total joke.
Most people forget that this movie was basically an Avengers-style team-up of history’s greatest villains. You had Ivan the Terrible, Napoleon Bonaparte, and Al Capone all working for Kahmunrah. It was absurd. It was loud. And somehow, it worked because the movie didn't try to make Capone a gritty, realistic monster. Instead, it leaned into the idea of a historical figure who was perpetually annoyed that he was stuck in black and white.
The Weird History of Al Capone in Battle of the Smithsonian
If you grew up watching the Night at the Museum franchise, you know the drill. Things come to life at night because of a magical golden tablet. In the first movie, it was just the New York Museum of Natural History. In the sequel, the stakes got bigger. We moved to the Smithsonian in D.C.
This meant more exhibits and more villains.
Director Shawn Levy needed a "muscle" character for the villainous trio led by Hank Azaria’s Kahmunrah. Enter Al Capone. But here’s the kicker: because Capone is a figure from the 1920s—the era of black-and-white photography and newsreels—the movie portrays him and his henchmen as entirely grayscale. They have no color. Even their skin is a shade of dusty charcoal.
It’s a brilliant visual gag. It also makes for a logistical nightmare for the actors, who had to be covered in gray makeup to look like they stepped out of a 1929 newspaper. Jon Bernthal has actually talked about this in interviews over the years, mentioning how much of a grind it was to get into that specific look every single day on set.
💡 You might also like: Not the Nine O'Clock News: Why the Satirical Giant Still Matters
Why Jon Bernthal Was the Perfect Choice
Before he was a household name, Bernthal had this incredible intensity. Even in a PG-rated family comedy, he brings a certain level of "don't mess with me" energy that makes the character stand out. He didn't play Capone as a cartoon. Well, he played him as a cartoon mobster, but with the conviction of a Shakespearean actor.
The chemistry between the villains is what carries the middle of the film. You have Napoleon (Alain Chabat) being insecure about his height, Ivan the Terrible (Christopher Guest) insisting he’s actually "Ivan the Pretty Okay," and Capone trying to keep them all focused on the task. It’s a comedy goldmine.
Bernthal's Capone is constantly checking his watch and trying to act like the CEO of a major corporation, which, ironically, is exactly how the real Alphonse Capone tried to present himself to the public in Chicago before the tax evasion charges finally stuck.
Fact vs. Fiction: The Real Al Capone vs. The Smithsonian Version
Look, nobody goes to a Ben Stiller movie for a history lesson. We know that. But it is interesting to see what the writers kept and what they threw out the window.
The real Al Capone was a brutal guy. He ran the Chicago Outfit, organized the St. Valentine's Day Massacre, and basically owned the city's police force. In Night at the Museum 2, he’s more like a grumpy middle manager with a tommy gun.
- The Outfit: In the movie, Capone has a squad of guys in trench coats. In real life, his "outfit" was a sophisticated criminal hierarchy that moved millions of dollars in illegal booze during Prohibition.
- The Personality: The film portrays him as a guy who values "respect" and "business." This is semi-accurate. Capone was obsessed with his public image, often opening soup kitchens during the Great Depression to make himself look like a Robin Hood figure.
- The Ending: Spoilers for a fifteen-year-old movie, but the villains obviously lose. The real Capone’s "ending" was much bleaker—Alcatraz, neurosyphilis, and a quiet death in Florida. I think the movie’s version, where he gets outsmarted by Larry Daley and a giant octopus, is a bit more fun for the kids.
Honestly, the gray-scale gimmick is the most "accurate" part of the movie's vibe. It captures how we perceive that era. We don't see the 1920s in color in our heads; we see it in grainy, flickering film. By making Capone black and white, the movie acknowledges that he isn't the real man—he’s our memory of the man.
📖 Related: New Movies in Theatre: What Most People Get Wrong About This Month's Picks
Why People Still Love the Al Capone Night at the Museum 2 Scenes
There is a specific scene where Larry (Ben Stiller) is trying to stall the villains, and he starts playing them against each other. It’s a classic trope, but Bernthal’s reactions are priceless.
He plays the "straight man" to the absurdity around him. While Napoleon is throwing a tantrum, Capone is just standing there with a look of pure, unadulterated "I don't get paid enough for this" on his face. That relatability—despite being a legendary criminal—is why the performance sticks.
Also, the costume design deserves a shout-out. The fedora, the double-breasted suit, the polished shoes—all in shades of gray. It’s a masterclass in monochromatic styling. If you’re a cosplay nerd or a film student, studying how they kept those textures visible without using color is actually pretty fascinating. They had to use specific fabrics that would catch the light differently so the actors didn't just look like flat gray blobs on screen.
The Impact on Jon Bernthal’s Career
It’s fun to look back at this role as a precursor to Bernthal’s later work. You can see flashes of the physicality he’d later use in The Walking Dead as Shane Walsh. There’s a scene where he’s intimidating Larry, and for a second, you almost forget you’re watching a Disney-adjacent family flick. He has this way of leaning into people's personal space that feels genuinely threatening.
Then he makes a joke about his mother, and the tension breaks.
Without this role, maybe casting directors wouldn't have seen his range. It showed he could do big-budget spectacles, handle heavy prosthetics/makeup, and still deliver a performance that felt "human" even when he was playing a living wax statue.
👉 See also: A Simple Favor Blake Lively: Why Emily Nelson Is Still the Ultimate Screen Mystery
How to Spot the "Easter Eggs" in Capone’s Scenes
If you’re rewatching Night at the Museum: Battle of the Smithsonian today, keep an eye out for these little details involving the Capone crew:
- The Tommy Guns: Notice that the guns don't actually fire real bullets in a lethal way; they’re more like props that emit "movie muzzle flashes." This was a deliberate choice to keep the PG rating while keeping the iconic gangster silhouette.
- The Dialogue: Many of Capone's lines are riffs on famous mob movie tropes. He says things like "fuggedaboutit" or talks about "the boss" in a way that parodies The Godfather, even though Capone predates those movies by decades.
- The Movement: Watch how the grayscale gangsters move. They have a slightly different frame rate vibe, almost like they are mimicking the jittery movement of 1920s film. It's subtle, but it's there.
Was there a real Al Capone exhibit at the Smithsonian?
This is a question that pops up a lot. Short answer: No.
The Smithsonian Institution generally focuses on American history, art, and science, but they don't typically have "wax statues" of mobsters in the way the movie portrays. Most of the artifacts in the film—like the Spirit of St. Louis or the Wright Flyer—are real things you can see in D.C. However, the "villain" exhibits were largely fabricated for the plot.
The real Al Capone items, if you want to see them, are usually found in places like the National Museum of Organized Crime and Law Enforcement (The Mob Museum) in Las Vegas. They have his actual weapons, personal items, and even the wall from the St. Valentine's Day Massacre. The Smithsonian is a bit more... "prestigious" than to host a tribute to Big Al.
Actionable Takeaways for Movie Buffs and History Fans
If you're fascinated by the intersection of Hollywood and the real Al Capone, here's how you can dive deeper into the lore without getting lost in the fiction:
- Watch the "Making Of" Features: If you can find the behind-the-scenes footage for Battle of the Smithsonian, specifically the parts about the "monochrome" effect, it's a great look at pre-CGI heavy practical effects. They used a specific type of paint that wouldn't crack under the studio lights.
- Visit the Mob Museum: If you're ever in Vegas, skip the slots for two hours and go here. It’s the closest you’ll get to the "real" version of the characters Bernthal was parodying.
- Compare Bernthal to De Niro: Watch The Untouchables (1987) and then rewatch the Capone scenes in Night at the Museum 2. It’s a hilarious contrast. De Niro plays him as a godlike tyrant; Bernthal plays him as a guy who just wants his plan to work so he can go back to his pedestal.
- Check out Bernthal's Filmography: If you only know him from this or The Bear, watch The Wolf of Wall Street. He plays another tough guy (Brad), and you can see how he evolved that "intimidating but funny" persona over the years.
The Al Capone Night at the Museum 2 appearance remains a standout moment in a franchise filled with legends like Robin Williams and Dick Van Dyke. It’s a testament to the fact that no matter how small the role, a great actor can make a historical monster feel like someone you’d actually want to grab a (prohibited) beer with.
The movie might be a "kids' film," but the craft that went into bringing the grayscale gangster to life is nothing short of impressive. It's the kind of character work that keeps a movie relevant on streaming platforms and in Google searches long after the theater lights have dimmed. You've got to respect the hustle, even if it's coming from a guy who’s technically made of wax.