Gangs of New York
3.5/4
Starring: Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Jim Broadbent, Brendan Gleeson, John C. Reilly, Liam Neeson
Rated R for Intense Strong Violence, Sexuality/Nudity, and Language
"America was Born in the Streets"
That's the tagline for Martin Scorcese's epic "Gangs of New York," and if you really think about it, it makes perfect sense for the film even though it's essentially a revenge story.
In 1845, New York City's Five Points was battled over by the Dead Rabbits, a group of (mostly Irish) immigrants led by 'Priest' Vallon (Neeson), and the xenophobic Natives, led by the sadistic Bill the Butcher (Day-Lewis). Vallon was killed, and his young son, Amsterdam (Cian Mccormack) was then raised by the Church. Eighteen years later, Amsterdam (DiCaprio) is released, and he has one thing on his mind: kill Bill (no QT pun intended).
In a way, the film's plot is really second to Scorcese's tour of 1863 New York City. We get fascinating insider information into how life was back then. Corruption was widespread, and violence and murder were parts of every day life. The mixture of immigrants and home-grown Americans resulted in a constant air of friction (something that Scorcese wisely uses as a metaphor for today). But it isn't just how things are done there, but how it looks. We are literally transported back a hundred and fifty years ago. Credit art director Dante Ferretti and set designer Francesca Lo Schiavo (both of whom received Oscar nominations for their impeccable work).
As with all of Scorcese's movies, the acting is superb. After becoming a superstar with the release of "Titanic," Leonardo DiCaprio stayed relatively under the radar for the next four years (he released four films, only one of which was a lead, and another is unable to be show in the US or Canada because of a lawsuit brought by DiCaprio and friend/co-star Tobey Maguire). He comes back in a big way as Amsterdam Vallon, a man of passion and contradiction. Revenge is never far from his mind, but the more time passes the closer he gets to Bill, and the higher he rises in his ranks. In order to save the murder of Bill for a very public setting, he has to pass by numerous opportunities to kill him. Cameron Diaz plays Jenny Everdeane, a beautiful pickpocket whom Amsterdam falls for (which is underdeveloped). Diaz is known primarily for her pretty face and her roles in romantic comedies like "There's Something About Mary" or "My Best Friend's Wedding." To say that starring in a Martin Scorcese picture is a change of pace for her is to understate matters. That being said, Diaz is very good in the role, conveying both vulnerability and toughness. Brendan Gleeson, John C. Reilly and Jim Broadbent (in a wonderful performance as Boss Tweed) appear in supporting roles.
The real star of the show is unquestionably Daniel Day-Lewis. The English actor is know for obsessively preparing for his roles, and for someone who could play Christy Brown in "My Left Foot" and Bill the Butcher in "Gangs of New York," it's easy to believe. Bill is a ferocious psychopath, especially with his unblinking, piercing stare. But he has a strict sense of honor, claiming that Priest Vallon was the "only man I killed worth remembering." Like Amsterdam, he too is a man of contradictions. As vicious as he can be, Bill is still capable of acts of kindness, especially when it comes to Jenny. Day-Lewis is a magnetic actor; he can draw the camera's attention simply by standing there, and that's a quality that is crucial for Bill to be successful. It's no wonder why Amsterdam is so torn when he's faced with a foe like this.
Martin Scorcese is usually at home with smaller and physically quieter productions like "Taxi Driver" or "Goodfellas." A big budget endeavor like this is something that Spielberg might take on, but this is Scorcese through and through. With simmering intensity and rich detail, Scorcese has left his mark on this picture. This is a very good film from the master, but it's not perfect. The climax is messily handled. Although what it means is explained at the end, the sequence is full of nagging questions.
Scorcese has never attempted something quite as ambitious, and even though it's not an unqualified success, he hasn't matched it with anything since.
Starring: Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Jim Broadbent, Brendan Gleeson, John C. Reilly, Liam Neeson
Rated R for Intense Strong Violence, Sexuality/Nudity, and Language
"America was Born in the Streets"
That's the tagline for Martin Scorcese's epic "Gangs of New York," and if you really think about it, it makes perfect sense for the film even though it's essentially a revenge story.
In 1845, New York City's Five Points was battled over by the Dead Rabbits, a group of (mostly Irish) immigrants led by 'Priest' Vallon (Neeson), and the xenophobic Natives, led by the sadistic Bill the Butcher (Day-Lewis). Vallon was killed, and his young son, Amsterdam (Cian Mccormack) was then raised by the Church. Eighteen years later, Amsterdam (DiCaprio) is released, and he has one thing on his mind: kill Bill (no QT pun intended).
In a way, the film's plot is really second to Scorcese's tour of 1863 New York City. We get fascinating insider information into how life was back then. Corruption was widespread, and violence and murder were parts of every day life. The mixture of immigrants and home-grown Americans resulted in a constant air of friction (something that Scorcese wisely uses as a metaphor for today). But it isn't just how things are done there, but how it looks. We are literally transported back a hundred and fifty years ago. Credit art director Dante Ferretti and set designer Francesca Lo Schiavo (both of whom received Oscar nominations for their impeccable work).
As with all of Scorcese's movies, the acting is superb. After becoming a superstar with the release of "Titanic," Leonardo DiCaprio stayed relatively under the radar for the next four years (he released four films, only one of which was a lead, and another is unable to be show in the US or Canada because of a lawsuit brought by DiCaprio and friend/co-star Tobey Maguire). He comes back in a big way as Amsterdam Vallon, a man of passion and contradiction. Revenge is never far from his mind, but the more time passes the closer he gets to Bill, and the higher he rises in his ranks. In order to save the murder of Bill for a very public setting, he has to pass by numerous opportunities to kill him. Cameron Diaz plays Jenny Everdeane, a beautiful pickpocket whom Amsterdam falls for (which is underdeveloped). Diaz is known primarily for her pretty face and her roles in romantic comedies like "There's Something About Mary" or "My Best Friend's Wedding." To say that starring in a Martin Scorcese picture is a change of pace for her is to understate matters. That being said, Diaz is very good in the role, conveying both vulnerability and toughness. Brendan Gleeson, John C. Reilly and Jim Broadbent (in a wonderful performance as Boss Tweed) appear in supporting roles.
The real star of the show is unquestionably Daniel Day-Lewis. The English actor is know for obsessively preparing for his roles, and for someone who could play Christy Brown in "My Left Foot" and Bill the Butcher in "Gangs of New York," it's easy to believe. Bill is a ferocious psychopath, especially with his unblinking, piercing stare. But he has a strict sense of honor, claiming that Priest Vallon was the "only man I killed worth remembering." Like Amsterdam, he too is a man of contradictions. As vicious as he can be, Bill is still capable of acts of kindness, especially when it comes to Jenny. Day-Lewis is a magnetic actor; he can draw the camera's attention simply by standing there, and that's a quality that is crucial for Bill to be successful. It's no wonder why Amsterdam is so torn when he's faced with a foe like this.
Martin Scorcese is usually at home with smaller and physically quieter productions like "Taxi Driver" or "Goodfellas." A big budget endeavor like this is something that Spielberg might take on, but this is Scorcese through and through. With simmering intensity and rich detail, Scorcese has left his mark on this picture. This is a very good film from the master, but it's not perfect. The climax is messily handled. Although what it means is explained at the end, the sequence is full of nagging questions.
Scorcese has never attempted something quite as ambitious, and even though it's not an unqualified success, he hasn't matched it with anything since.
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