"Gangs of New York"
Gang wars, political corruption and the infamous New York draft riots are the backdrop for director Martin Scorcese's long anticipated and long awaited tale of revenge in 1860s New York City. Amsterdam (Leonardo DiCaprio), as a boy, witnessed the brutal death of his beloved father, Priest Vallon (Liam Neeson), at the hands of the notorious gang leader William Cutting, AKA Bill the Butcher (Daniel Day-Lewis). Now grown up and a graduate of the Hellgate House of Reform, young Vallon comes back for Bill's blood in "Gangs of New York."
It has been near two years since I heard about Marty Scorcese's mission to bring a bit of unknown Americana to the big screen. Delays in production of the massive effort caused one proposed release date after another to be passed by, until now. I had hopes of this being a major opus for one of America's preeminent filmmakers but was worried about the postponements. Unfortunately, "Gangs of New York" falls short of the mark of such greats by the director as "Raging Bull" and "The Age of Innocence."
It isn't that "Gangs" is a bad movie. As a matter of fact, it is an opulently executed, finely crafted film that looks spectacular. The issues stem from things like the staging of the big scenes that has an artificiality that keeps the viewer at arm's length.
The action takes place, primarily, in the notorious Five Points section of south Manhattan. The film opens with Priest Vallon and his Irish Catholic followers girding for battle against the "Natives," an American-born gang, led by Bill the Butcher, that wants the city cleansed of the invading Hibernians. The rival factions face off in Paradise Square, armed to the teeth with knives, swords, axes and cudgels. A bloody battle ensues and ends with many dead and injured, including Priest at the Butcher's own hand. Bill, the victor, shows compassion and sends the younger Vallon away to get an "education" at the Hellgate School. 16 years later, the now adult Amsterdam returns to the Five Points but his real identity is an unknown with many thinking that he is just another ignorant Irish immigrant.
The story continues as Amsterdam joins a gang of tough thugs and insinuates himself into the fold of the Natives, getting close to Bill. From here, the tale splits between Amsterdam's relationship with his now mentor, Bill, the plans to avenge Priest's death and the historical events of the time.
In 1863 New York City, Tammany Hall, under the command of "Boss" Tweed (Jim Broadbent), is in cahoots with Bill and his gang of Natives, controlling the city and its voters in the worst case of political corruption in America's history. The two factions, politicos and thugs, are struggling to control the populous that is growing in leaps and bounds with the influx of tens of thousands of starving Irish immigrants. But, Tweed sees the political reality of the mass migration and shifts his loyalty from the Natives to garnering the good will (and their votes) of the newly arrived Irish turned Americans. Ill will builds between Boss Tweed and Bill the Butcher.
Meanwhile, America is split in two and the North is fighting for its very existence against the rebellious South. To feed the Union Army's unrelenting need for more and more human cannon fodder, President Lincoln introduces the nation's first Draft Act and calls upon all able-bodied men (especially the Irish) to join the fight against the Confederacy. A loop hole in the law allows a draftee to buy his way out of the army for a mere $300, a sum that few can muster. The inequities of the new law spark insurrection in New York and the people take to the streets, murdering Irishmen and blacks indiscriminately. The Army is called into the fray and a four-day bloodbath ensues.
These historical events are the backdrop for the personal story as Amsterdam struggles with his need to avenge his father's death at Bill's hand and the admiration he develops for Priest's slayer. Bill treats young Vallon like the son he never had and the younger man is conflicted. Amsterdam also falls for the wily, street-wise charms of Jenny Everdeane (Cameron Diaz), a pretty thief and pickpocket whom Vallon first mistrusts then falls for. This romance turns out to be his undoing, though, when his closest friend, Johnny (Henry Thomas, learns of the tryst. Johnny has always loved Jenny from afar and is struck down by his friend's betrayal in taking "his girl." He tells Bill of Vallon's true identity but the forthcoming confrontation is overshadowed by the events of the day.
The performance by these, and other, characters in "Gangs" are capably handled by all with one exemplary exception. Daniel Day-Lewis, as Bill the Butcher, is really a supporting character in the film but the actor puts such a strong signature on the role that he elevates it to the status of best actor accreditation. Bill is ruthlessly violent and will kill a man as much as look at him but Day-Lewis gives many other layers to his performance. Bill can be cruel, kind, malicious, loyal and patriotic as he struts about his turf, meting out praise and punishment as he sees fit. Day-Lewis gives his character an accent that is the seed for the future New Yawk speech that was born in the Five Points. His costumes (expertly designed, with all the rest, by Sandy Powell) accentuate his height with garishly colored and patterned frock and topped with exaggeratedly tall stovepipe hats. When Bill is on the screen, he is the center of attention.
Leo DiCaprio, as the focal character, Amsterdam Fallon, acquits himself well enough but is hard pressed to match the utter presence of Day-Lewis. The younger actor has charisma and his own presence on the screen but the masterly performance of his costar is hard to beat. Cameron Diaz, as Jenny, comes across well for the first half of the film as she and Amsterdam do their mating dance, but her character is relegated to being a nursemaid in the second half. There is no real chemistry between Leo and Cameron.
The supporting cast has its share of capable character actors giving life to their roles. Jim Broadbent is convincing as Boss Tweed as he shows up whenever the political expediency moves him or when there is a bit of bacchanal to attend. Tweed exudes corruption even as he makes compassionate statements of giving the poor, starving immigrants some bread and soup to assuage their hunger. But, you know it is just an ulterior motive to maintain his power base and strangle hold on the burgeoning city. John C. Reilly is corrupt cop Happy Jack who was spawned from Priest's gang, the Dead Rabbits, only to become a police officer. He uses his position of authority for his own, personal gain as he frequently dips his beak into the trough of corruption. Brendan Gleeson, as Monk McGinn is a bit too ambiguous as another of the power mongers in the Five Points. Gary Lewis, as Bill's right-hand henchman Charles McGloin, displays the fierce loyalty that would befit a man in his position to do the Butcher's bidding. The background characters look grimy enough as they beat each other senseless but are never made real, contributing to the artificial feel.
"Gangs of New York" was shot at Italy's film center at Cinicetta Studios outside of Rome and, as opulent and well done as the movie is, it feels like it was shot on a set. That being said, the technical side of the fence is populated with a bevy of master film craftsmen and artists. Lensing, by Scorcese alumnus Michael Ballhaus, is stunning as it captures the action of the gang wars, the draft insurrection and the army's bloody effort to quell the outbreak. Dante Ferreti does a splendid job in creating the mid-19th century world of New Your City. Sandy Powell's costuming, especially for the title gangs, has the same exaggerated look that gave such a classy touch to "The Warriors" a quarter of a century ago. Musical scoring, by Howard Shore, is a hit or miss proposition with modern rock music interspersed with period compositions`.
I, like everyone who has anticipated the arrival of "Gangs of New York" to the screen, had high hopes of seeing a masterpiece from a filmmaking master. There are elements of greatness, in part, but my highest praise is for Daniel Day-Lewis in his smashing depiction of Bill the Butcher. I give it a B.
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