Jean Valjean, a Frenchman imprisoned for stealing bread, must flee a police officer named Javert. The pursuit consumes both men's lives, and soon Valjean finds himself in the midst of the ... See full summary »
"I cento passi" (one hundred steps) was the distance between the Impastatos' house and the house of Tano Badalamenti, an important Mafia boss, in the small Sicilian town of Cinisi. The ... See full summary »
Marco Tullio Giordana
Luigi Lo Cascio,
Luigi Maria Burruano,
1863. America was born in the streets. In this movie, we see Amsterdam Vallon returning to the Five Points of America to seek vengeance against the psychotic gangland kingpin Bill the Butcher who murdered his father years ago. With an eager pickpocket by his side and a whole new army, Vallon fights his way to seek vengeance on the Butcher and restore peace in the area. However this is more said than done. Written by
Elmer Bernstein was commissioned to write the score, which was recorded at London's Abbey Road studios, but it was replaced by a new soundtrack at the last minute. See more »
After Jenny fights of her two attackers in the harbor, after shooting the woman, she pulls herself up on a crate. In the next shot, she is crawling toward the crate on hands and knees. See more »
Bill, I can't get a days work done for all the good citizens coming in here to harass me about crime in the Points. Some even go so far as to accuse Tammany of connivance in this so-called rampant criminality. What am I to do? I can't have this. Something has to be done.
What do you have in mind?
I don't know. I think maybe we should hang someone.
No one important, necessarily. Average men will do. Back alley amusers with no affiliations.
Three or four.
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Noises from the modern day New York streets play over the second half of the closing credits. See more »
Gangs of New York is just perfect entertainment. It is an enthralling, bloody, melodramatic epic that more than justifies its two and one half hour running time. In Gangs director Martin Scorsese spins another tale of the New York underworld but with a twist. Instead of the mid-twentieth century organized crime milieu of Goodfellas, Scorsese ventures back to the 19th century to show us the origin of the modern street gang.
It's the early 1860s and the notorious Five Points slum is ruled by the savage `Bill the Butcher'. The viciously nationalistic Bill terrorizes all the immigrant masses jammed into his slum but seems to harbor a particular hatred for the Irish population. Into this seething cauldron wanders mysterious young Amsterdam Vallon who soon works his way into the trust and affection of Bloody Bill. Amsterdam, however, has a past with the unsuspecting Butcher and sports an agenda not unlike a certain Prince of Denmark. Bloody vengeance and dark betrayal soon come to pass, all played against a backdrop of corruption and unrest that lead to up to the horrors of New York Civil War draft riots.
Daniel Day-Lewis is marvelous as Bill the Butcher. His Bill is both recognizably human and a full bore, moustache-twirling villain. Day-Lewis strides his savage and profane way across the screen and steals the whole of the movie. The only other actor to approach Day-Lewis' level is Jim Broadbent as William 'Boss' Tweed. Broadbent is Tweed's spitting image and he makes the grasping old pirate so winning we find ourselves rooting for Tweed against the gaggle of reformers that infest his domain. Though Leonardo DiCaprio is the nominal lead of the picture he is overshadowed by his co-stars. Large, slope shouldered and vaguely brutish looking, DiCaprio is physically perfect for Amsterdam. While he could have used some of the fire and rage of a young James Cagney, DiCaprio's acting is superior throughout the movie. The problem is that Amsterdam just isn't as flashy a role as Bill or Tweed and, as good as DiCaprio is; Day-Lewis operates on a whole other level. Cameron Diaz as the beautiful pickpocket Jenny, never convinces that she is a product of the slums. Despite having considerable screen time, Diaz fades into the background when compared to her more powerful co-stars.
Just as important as the actors are to Gangs is the period atmosphere that drips off the screen. The amazing old New York set has an air of lived in reality that you could cut with a knife. You can almost smell the vermin. Gangs is entirely free of the embalmed feeling you get from most modern period movies. The cast handles the period argot as if it were their true speech and wear their costumes like lived-in clothing. You come away convinced that this is how the world looked and sounded in 1862.
Scorsese does eschew all nuance and subtlety in Gangs. Instead he tells his tale in wide, bold, exploitive and melodramatic strokes that make the movies two and a half hours fly by. Be warned that if you are waiting to see Gangs on DVD you are making a huge mistake. Gangs has to be seen at the theater. The detail and scope of the film cries out to be viewed in all its wide screen glory. This movie is a fantastic achievement.
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