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
In the scene where Leo uses the Thompson sub-machine gun he should have had to reload at least 6 times. Assuming the gun is a 1928 model the rate of fire is 700 rounds per minute and has a 100 round can of ammunition. The gangster walks into the bedroom and fires for 5 seconds for a total of 58 shots fired, Leo takes his gun and fires at the window for 20 seconds for 233 shots fired, then Leo fires at the car for about 20 more seconds for another 233 shots fired. That is a total of 524 shots fired from one Thompson with no reload. See more »
I guess we both double-crossed Leo. He's well rid of us both. The two of us Tom, we're about bad enough to deserve each other.
We're a couple of heels, Tom. Yes we are.
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There are very few films that engulf the viewer and demand them to give their full attention. This is one of those rarities. While viewing this film one finds themselves sharing the same space and breathing the same air that the characters do. It's beautiful. It's the stuff of great story-telling.
I must admit, I am a great fan of Gabriel Byrne in anything, no matter what it is, so maybe I'm jaded. And as I have seen practically everything with him in it, I must say it is refreshing to see him work with an amazing cast and script to back up his talent.
And the music is terrific. How ironic to have "Danny Boy"-a sentimental grandparents' favorite- playing while machine guns are ripping apart mens' flesh. The cinematography is superb also. Not only do the characters speak in a language rich with visuals, they live in a moving painting.
This was one of those films where I watched all the way through the credits slack-jawed and was sad to see the film end. It's that good. I'm not especially a fan of gangster films but I am willing to make exceptions and Miller's Crossing is one of them.
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