
Gangs of New York was made with class~
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Both flawed and delayed, Martin Scorcese’s Gangs of New York still emerges as his most vital work since “GoodFellas.”
The story’s bedrock conflict is between gangs of self-proclaimed “Native Americans,” mostly English-descended and Protestant, and the growing tide of immigrants, mostly Irish and Catholic. Upon this foundation Scorsese builds subplots personal, municipal and national. The personal conflict emerges between a young Irish immigrant named Amsterdam (Leonardo DiCaprio) and William “Bill the Butcher” Cutting (Daniel Day-Lewis, doing a fine Robert De Niro impression), leader of New York’s Nativist gangs. Fifteen years earlier, as shown in the film’s gory prologue, Bill the Butcher killed Amsterdam’s father, “Priest” Vallon (Liam Neeson), during a melee in the Five Points neighborhood.
Upon his release from reform school, Amsterdam aims to murder Bill. But as he grows close to the charismatic leader, Amsterdam, like Hamlet, finds himself unable to avenge his father’s death. The characters don’t miss the parallels. “It’s so bloody Shakespearean,” says Amsterdam’s companion, Johnny (Henry Thomas).
Besides keeping Manhattan’s Lower East Side in order, Bill has greater aims. Mayor “Boss” Tweed (Jim Broadbent) has a vision, a city that creates infrastructure and provides municipal services. Currently, rival firehouses fight for the right to put out a tenement blaze, giving looters plenty of time to slip in.
But Tweed’s grand civic plans requires muscle to keep city workers and immigrants in line, so he invites Bill the Butcher to Tammany Hall. Bill asks why not use the cops as enforcers. “The appearance of the law must be upheld,” Tweed replies, “especially when it’s being broken.”
While New York tries to evolve from brawling burgh into major city, far away the nation tears itself in two. Upscale New Yorkers try to ignore the Civil War, but down at the docks the poor watch as coffins come off Navy ships and recruits walk aboard. Young men step off the boat from Ireland and immediately are conscripted into the Union army. “Welcome to your new country, now go fight for it,” are their welcoming words.
Echoes from the Vietnam War are unmistakable as immigrants believe they are fodder in a war of economics. “Let the sons of the rich go and die,” they say, “let the sons of the poor stay home.” Abraham Lincoln is as hated in Lower Manhattan as he is in Atlanta. This sentiment explodes during the Draft Riots of 1863 as the mob turns against the government. Freed slaves unfortunate enough to be on the street that day are beaten or lynched.
As this tension builds, Amsterdam realizes his inability to kill Bill the Butcher has turned him into Bill’s surrogate son. The one living person who comes between them is Jenny Everdeane (Cameron Diaz), a pickpocket who is Bill’s protégé and Amsterdam’s new love. Should Amsterdam break from Bill, whom would she follow?
Even at two hours and 45 minutes, “Gangs of New York” never feels overlong, but occasionally it is overstuffed. Influenced by Dante Ferretti’s marvelous production design, which brings entire neighborhoods of old New York to life in a studio outside Rome, Scorsese occasionally pauses to make sure we are appreciating the history. Marveling as an Irish jig absorbs African rhythms, the otherwise racist Bill proclaims, “This is a new form of music!”
Apart from moments of showboating, “Gangs of New York” bursts with energy in a way no Scorsese film has.
Review ID: 10000000004267544

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