The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
A highly styled 'genre' film which can perhaps be seen as a pastiche of all gangster movies. Tom Reagan is the laconic anti-hero of this amoral tale which is also, paradoxically, a look at morals within the criminal underworld of the 1930s. Two rival gangs vie for control of a city where the police are pawns, and the periodic busts of illicit drinking establishments are no more than a way for one gang to get back at the other. Black humour and shocking violence compete for screen time as we question whether or not Tom, right-hand man of the Irish mob leader, really has a heart. Written by
Among other details that give hints as to where the events of the film may take place (although it is never explicitly stated), one is when Verna tells Tom that they could "pack up and leave town", to which he replies sarcastically: "...where would we go Verna, Niagara Falls?" This supports the theory that the events of the film take place somewhere in New York state. See more »
Caspar repeatedly refers to Bernie as "the Schmatte" - Yiddish slang for "a worthless person". Bernie is Jewish, but an Italian gangster would never use a Yiddish word to refer to him. He would use an Italian epithet, instead. See more »
What're you chewin' over?
Dream I had once. I was walkin' in the woods, I don't know why. Wind came up and blew me hat off.
And you chased it, right? You ran and ran, finally caught up to it and you picked it up. But it wasn't a hat anymore and it changed into something else, something wonderful.
Nah, it stayed a hat and no, I didn't chase it. Nothing more foolish than a man chasin' his hat.
See more »
"I'm talkin' about friendship. I'm talkin' about character. I'm talkin' about--hell Leo, I ain't embarrassed to use the word--ethics." So Jon Polito, as crime-boss Johnny "Caspar," describes to his overlord, Albert Finney as "Leo," his point of view while seeking permission to kill a double-crossing underling (played by John Turturro) in the opening lines of __Miller's Crossing__. Had the script sought only to explore the power relationship between the two chief mobsters (one the rising Italian, the other the diminishing Irishman), this would have been a very good gangster film. It portrays an earlier era in the nation's history of organized crime (perhaps Chicago in the late '20s), and one can imagine Leo as the Irish predecessor of __The Godfather__'s Don Vito Corleone (Marlon Brando).
Just as __The Godfather__ was really about family relationships and the ethical complexities arising when familial loyalty collides with the business of violence, however, __Miller's Crossing__ is actually about, as Caspar tells us, friendship and character put under the enormous strain of that same business of violence. The film, therefore, centers on Leo's trusted adviser Tom (played flawlessly by the Irish actor Gabriel Byrne). Tom is not a gunsel, but the brain behind Leo's muscle. His decisions carry life and death consequences, however, and we watch him try to live with himself, to preserve his character, as he works out a code that will help him and his friends survive brutally violent upheavals. Critics of the film have cited its graphic cruelty and the seeming coldness of its characters, yet these are essential features in developing the film's theme.
Sentimentality might get any of the major characters killed, and one notes the pathos and dark humor that underline an ironic distance that each character, especially Tom, cultivates as a tool for survival.
Clues abound as we wonder what Tom will do next. Follow, for example, the men's hats over the course of the film. Who "keeps his lid on," so to speak, and who loses his? Note the number of times characters exclaim "Jesus!" or "Damn!" when saying the name "Tom." What has he sacrificed? Has he damned himself?
Spectacular action sequences, beautiful production values, top-notch camera work by Barry Sonnenfeld, a haunting musical score, and the best dialogue ever written by the Coen brothers make this a great gangster film. The fascinating and complex theme of friendship, character, and ethics make it one of the great films from any genre.
157 of 190 people found this review helpful.
Was this review helpful to you?