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
Most of the gangs mentioned by name were real 19th century New York gangs. Bill "The Butcher" Cutting is based largely on real-life New York gang leader Bill Poole, who also was known as "The Butcher" and had much the same prestige as Daniel Day-Lewis' character. See more »
One shot during the opening fight scene shows Bill the Butcher killing several people with his meat cleaver and knife, yet the blades stay clean. See more »
The past is a torch that lights our way. Where our fathers have shown us the path, we shall follow. Our faith is the weapon most feared by our enemies. For thereby shall we lift our people up against those who would destroy us.
See more »
Miramax Films and Touchstone Pictures logos are much different and larger than the normal logos and evoke a 1930s black and white style. See more »
I am a Civil War "buff," so I wanted to see this movie the moment I heard it was being made. Yes, the New York Draft Riots did happen, just two weeks AFTER the Northern victory at Gettysburg, demonstrating that the outcome of the War was anything but certain, even after Lee had been forced to retreat to the south bank of the Potomac River. Today, many would find this surprising.
The movie did take some license, however. There was no wholesale firing on civilians by Union soldiers. In fact, reported deaths after three days of rioting were less than one-hundred. Many of the dead were randomly selected blacks, who were hanged and mutilated (which was accurately depicted in the film). Today, many would also find this surprising, because the schools teach that the North was good, and the South was bad. The truth is that blacks were subjected to inhumane treatment everywhere, especially in the Nothern cities.
There was also no firing by offshore naval vessels. That was artistic license. (My source for all of the above is a doctoral dissertation that was published about ten years ago titled "The New York City Draft Riots.")
The movie makes the important point that the North had run out of "home grown" manpower to fight the South. Had it not been for Irish and German volunteers through 1863, and black volunteers in 1864, the North would have sued for peace. The 1864 Democratic Platform promised to bring the War to a swift and speedy conclusion.
Bravo to Scorsese for bringing all of this to light. In the meantime, the movie is about twenty minutes to long. The brothel scenes, the "uptown" scenes, and some of the scenes in the catacombs struck me as slow and superfluous. On the other hand, the street scenes and the scenes of the random gangs (of which I wish there were more) were glorious.
One thing Scorsese left out, however: The mountains of animal and human waste in the streets! Not long after his movie was released, the History Channel produced a documentary on the Five Points area, and it is staggering to consider the tons and tons of animal and human waste piling up in the streets, and the thousands of gallons of urine running in the gutters. There were old photos of waste in the streets stacked six feet high. Needless to say, infant mortality in such a fetid environment was about 50%. Scorsese leaves this out, and there is scarcely a horse in the movie.
Day-Lewis does a superb job with a character that is unevenly developed. He is a homicidal thug in the beginning, a menacing, but somewhat benign, presence in the middle, and a psychotic killer in the end. It isn't really clear why he vacillates the way he does. Bi-polar, I guess. DiCaprio proves he can act, and he exudes a manliness he did not possess in earlier films. Diaz turns in a creditable performance. The cast of thousands adds a nice touch to the film.
I would never say this is a "great" film, but it certainly is worth a look. Kudos to Scorsese for the herculean effort, and a tip of the kepi for the poetic ending, which reminded me of the ending in 1936's "San Francisco."
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