***We're looking for contributors***

'Gangs of New York' Review: Daniel Day-Lewis Shines in Riveting Sociopolitical Drama

Daniel Day-Lewis in Gangs of New York
Daniel Day-Lewis, Gangs of New York

KEEP AWAY YOUR POOR, YOUR TIRED. . .

Those who think that gangs and urban violence are a modern phenomenon should take a look at Martin Scorsese's ambitious Gangs of New York, a riveting tale of revenge, corruption, and power lust set in mid-1860s New York City. Scorsese had already covered the dangerous streets of his hometown in films as diverse as Mean Streets and After Hours, but in Gangs of New York he goes back in time to a period when that city was a chaotic Third World melting pot – one in which the melting took place whenever members of rival ethnic gangs shed blood on top of one another.

Scorsese's genteel The Age of Innocence, also set in 19th-century New York, stayed within the confines of the city's wealthy districts, galaxies away from the wretched neighborhoods of immigrants and working-class Americans. Gangs of New York, however, is set right in the 'hood, the Five Corners section of town (recreated on the lot of the Cinecittà studios in Rome) where a young Irishman, Amsterdam (Leonardo DiCaprio), seeks to avenge the death of his father (Liam Neeson).

The murderer, Bill, the Butcher (Daniel Day-Lewis), is the one-eyed leader of a xenophobic gang that wants to wipe out the newly arrived Irish immigrants. (The Butcher was inspired by real-life nativist bigot Bill Poole.) Unaware of Amsterdam's real identity, Bill takes him in as a surrogate son. The truth, however, eventually emerges in bloody fashion.

Although the film's central storyline sounds conventional, Scorsese and (credited) screenwriters Jay Cocks, Steven Zaillian, and Kenneth Lonergan contextualize it by weaving the personal stories into the sociopolitical framework of the mid-19th-century United States. The gang rivalries and personal vendettas are thus micro-civil wars found within the larger context of the Civil War that is tearing the country apart.

Amsterdam and Bill, for their part, are archetypes of their convoluted time, when the country – with the end of slavery and the arrival of cheap immigrant labor – was rapidly transforming itself from a socially stratified agricultural society into a more malleable industrial nation.

Leonardo DiCaprio in Gangs of New York

The Old Guard, represented by Bill and his followers, is unable to recognize or accept the inevitable changes. In sharp contrast to the American mythology, immigrants in Gangs of New York are – literally – welcomed with sticks and stones. The New Guard, represented by the Irishman Amsterdam and his fellow immigrants, is ready to take over from the Old Guard and thus proceed with the forging of the new nation – that is, until they themselves become the Old Guard, ready to be taken over by another wave of new blood.

In order to bring to life that difficult period in American history, Scorsese (who can be spotted in a cameo as a wealthy man inside his mansion) relied on a team of first-rate artists and technicians, among them production designer Dante Ferretti and cinematographer Michael Ballhaus, both of whom create some of the most impressive work of their careers.

Daniel Day-Lewis in Gangs of New York
Daniel Day-Lewis in Martin Scorsese's Gangs of New York

Keeping things moving are the director's own fluid camera work and Thelma Schoonmaker's concise editing skills (at times concise to the point of abruptness, considering that Miramax ordered Martin Scorsese's 3-hour-plus final cut pared down to 168 minutes). The opening sequence, in particular, is a magnificent example of bravura filmmaking, as the camera follows Irish gang members through the otherworldly innards of a New York slum. (Like most American filmmakers, Scorsese does considerably less well in the film's more intimate – and laughably artificial – sex scenes.)

With the exception of Cameron Diaz's much-too-modern and much-too-coy petty thief (who also happens to be Amsterdam's inevitable love interest), the film's other leading performers hold their ground among the elaborate sets. Henry Thomas (the little boy in E.T.) is excellent as the traitor Johnny Sirocco; Leonardo DiCaprio brings the required inner strength to his determined, steely-eyed Amsterdam; while Daniel Day-Lewis exudes charisma through his larger-than-life Bill, the Butcher.

Day-Lewis, a performer who tends to drown his characterizations in mannerisms and twitches, delivers the performance of a lifetime in Gangs of New York. Despite plenty of chances, not once does the actor allow his villain to fall into the bottomless pit of caricature or self-parody. In fact, Bill is so frightening – and so fascinating – because he is so monstrously human. With glistening eyes (one real, one fake) and clenched teeth, Day-Lewis' ruthless, power-hungry, viciously xenophobic Bill, the Butcher, believably encompasses all that is ugly about Americans – and human beings in general – then and now.

In Gangs of New York, Scorsese demonstrates that the United States went from chaotic Third World Nation to (a tad less chaotic) Global Superpower not only through honest and hard labor, but also – perhaps chiefly – through the ruthless use of force and coercion. At the end of the film, the bloody Draft Riots – New York's own mini “French Revolution” – are squelched by the U.S. Army's systematic slaughter of the anti-military draft and anti-elite protesters. Their blood colors the streets red; those same streets from which would spring up the skyscrapers shown triumphantly in the film's grand finale.

It is the birth of a new America, one in which, as the vote-rigging politician William 'Boss' Tweed explains, “the appearance of the law must be upheld, especially when it's being broken.” There was to be no more mob rule in filthy streets. From then on, “the appearance of the law” would disguise the corruption and abuses generated from inside immaculate government and corporate office rooms.

The Age of Innocence, Scorsese and his screenwriters tell us in this remarkable cinematic achievement, has never truly existed in the United States. Or anywhere else, for that matter.

GANGS OF NEW YORK (2002). Dir.: Martin Scorsese. Cast: Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Jim Broadbent, Henry Thomas, Liam Neeson, Brendan Gleeson, John C. Reilly, Gary Lewis, Stephen Graham, Eddie Marsan, Alec McCowen, David Hemmings. Scr.: Jay Cocks, Steven Zaillian, and Kenneth Lonergan, from a story by Cocks. (Herbert Asbury's Gangs of New York treads on some of the same territory shown in the film.)

'Gangs of New York' Review: Daniel Day-Lewis Shines in Riveting Sociopolitical Drama © 2004–2018 Alt Film Guide and/or author(s).
Text NOT to be reproduced without prior written consent.

Leave a comment about ''Gangs of New York' Review: Daniel Day-Lewis Shines in Riveting Sociopolitical Drama'

COMMENTING RULES:

Don't waste time and energy disagreeing with and/or being deeply offended by the presentation of factual information.

On the other hand, it's perfectly okay to disagree with and/or, if you're so inclined, to be deeply offended by the views & opinions (and/or likes & dislikes) found on this site. And to let us know about any omissions or, heaven forbid, errors.

Just bear in mind that *thoughtfulness* and *at least a modicum of sanity* are imperative.

In other words: Feel free to add something reasonable & coherent – AND fact-based – to the discussion.

Abusive/bigoted, trollish/inflammatory, baseless (spreading misinformation, whether intentionally or not), spammy, and/or just plain deranged comments will be zapped and offenders may be banned.

And finally, links found in comments will generally be deleted.

Most recent comments listed on top.

1 Comment to 'Gangs of New York' Review: Daniel Day-Lewis Shines in Riveting Sociopolitical Drama

  1. Gang's of New York was an entertaining film, but the facts were tweeked to portray things worse than they actually were. In some way this is supposed to make us feel better about ourselves. Our modern society was supposed to fulfill all our expectations of progress and evolution, but instead we find ourselves as lame and depraved as ever. Thus Hollywood comes to the rescue, showing us that the progress hasn't been great, but we have in fact exibited an historical budge in comparison to our previous depravity. Thanks! I'm feeling better already!