A review by Jeffrey Overstreet
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Gangs of New York is director Martin Scorsese’s much-anticipated film about an uprising of Irish immigrants against a gang called “Nativists” who seek to drive them out of Civil-War-era New York City.
Scorcese has always been interested in stories of desperate individuals trying to rise above what oppresses them in a dangerous world. This time, he is far more interested in the social and political environment than he is in the actual story. Thus the story seems almost a trivial distraction at times, while the busy streets in the background keep us glued to the screen.
Leonardo Dicaprio stars as Amsterdam Vallon, a tough young Irishman who returns to a poor New York neighborhood called The Five Points in order to avenge the death of his father (played in the prologue by Liam Neeson.) Vallon’s father died a principled Irishman defending the rights of Irish immigrants to live in peace on American soil. The murderer was William Cutting (Daniel Day-Lewis), also known as “Bill the Butcher,” leader of an immigrant-hating gang. Vallon’s revenge quest gets complicated when he finds himself adopted as the Butcher’s apprentice in all things devious and violent. The stakes are raised higher when he falls in love with Jenny Everdeane (Cameron Diaz), a pickpocket and con woman who is dangerously close to the Butcher’s cold cruel heart.
This story would seem predictable. But when the inevitable confrontation finally arrives, Scorsese pulls the rug out from under us. We realize the film is not about something as frivolous as a blood rivalry between two men. It is about the consequences that occur when the rich turn a blind eye to the poor.
The violent clashes that bloody these filthy streets are symptoms of poverty in the big city. In the 1860s, immigrant men were drafted into Civil War duty as soon as they stepped off the boats, even if they were not supporters of Lincoln. Meanwhile, rich men could buy their way out of the draft for about $300 bucks. Seeds were planted for distrust of the government, and prejudices that deepened during that time continue today. This deep civil unrest sparked a fire that became the Draft Riots, an outburst of rage and violence that threw New York City into a Civil War of its own, the bloodiest riots in American history. Scorsese concludes with a suggestion that the rich’s oppression of the poor continues today.
Dicaprio makes Vallon a charismatic savior, rallying the Irish to his cause. But alas, he is no Hamlet. The film seems to suggest that his revenge quest is completely justified; there is no doubt in his mind, and the camera does not blink either. Alas, he is only a savior by violence, far too willing to compromise his innocence in order to achieve his goals. Thus, the price of vengeance grows costly indeed. Fortunately, the film does not revel in his vengeance or glorify it. Indeed, by the time we reach the showdown, Vallon’s quest seems like a mad preoccupation in view of the larger spectacle.
Dicaprio’s solid work pales in comparison with the spectacular return of Daniel Day-Lewis, who steals the show. His sneering, roaring, monstrous performance as the Butcher will remind you of the seemingly superhuman work Robert DeNiro performed in his prime.
The supporting cast is effective as well, featuring strong turns from John C. Reilly (Magnolia), Henry Thomas (E.T. The Extra Terrestrial), and Brendan Gleeson (Braveheart.) Cameron Diaz holds her own in the midst of such formidable talents, playing the part of Jenny, a beautiful pickpocket with a dangerous secret.
The script by Jay Cocks, Steven Zaillian and Kenneth Lonergan shows a close study of the dialects, accents, and prejudices of the day. The cast sinks their teeth into the script – by Jay Cocks, Steven Zaillian, and Kenneth Lonergan – with the same enthusiasm they would give to Shakespeare. In fact, the film resembles the sort of bloodstained epic Shakespeare would have written had he lived later and been a student of American history.
Gangs is a complicated film, both great and deeply flawed. I dream of seeing the already famous early cut, a much longer film that the studio head eventually persuaded Scorsese to abridge. I think there are many plot gaps that need filling, especially regarding Vallon’s history, and how it is that he rallies the Irish in the end.
I am especially disappointed in the love story. Even though Diaz throws herself enthusiastically into the role of Jenny, the romance lacks distinction. The writers fail to convince me that this pair is enjoying anything more than infatuation and perhaps some sympathy born of suffering. In the latter part of the film, just when I would expect their relationship to deepen, Jenny all but disappears, receding to play the role of nursemaid.
The scene that interests me the most, and that Scorsese fails to explore deeply enough, juxtaposes each of the forces in the film praying to the same god. The rich appeal to him as the “god of mercy”… ironic, since they are willing to show no mercy to those who need it most. The Butcher prays to a god of strength, and clearly Bill believes the strongest is the one who is in God’s favor. Amsterdam also prays to a god of strength, appealing for blessing on his vengeful quest. None of them mention a god of Love. None of them are willing to take on the character of Christ, who suffered willingly the beatings dealt him by a cruel world.
But much of the film still works. It plays best as a dirge for the poor who still suffer from the neglect of the rich and powerful. Regardless of the creative liberties taken by Scorsese in telling his tale, it’s the most shocking and troubling film about American history I’ve ever seen.