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American
Gangster (2007)
    
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Directed
by:
Ridley Scott |
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COUNTRY
USA |
GENRE
Crime/Drama |
NORWEGIAN
TITLE
American Gangster |
RUNNING
TIME
157
minutes |
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Produced
by:
Brian Grazer
Ridley Scott |
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Written by:
Steven Zaillian |
Review
As a portrait of the
moods and mechanisms of the big-city mob, American Gangster
treads familiar waters. This is one of the reasons why we struggle to
maintain interest through every connection and associate of Frank Lucas'
in this intriguing and interesting, yet somewhat ill-proportioned film
by Ridley Scott. In magnitude and weight, American Gangster is a
typical Scott picture, with strong personalities battling it out in
cynical environments. The story of Frank Lucas has many interesting
aspects, such as the unlikeliness of him building his cartel in the
middle of the Sicilian mob's territory, his extremely effective
no-nonsense methods, or the fact that he was (arguably) the
first black organized crime boss of this magnitude. However, what is not
particularly interesting is the man's rather dull personality. The same
can largely be said about his adversary, Detective Richie Roberts
(Russell Crowe), who the film claims was one of the few non-corrupt
police officers in New York in the 1970s. One of Ridley Scott's mistakes
here is that he dwells too much on various other aspects of his two protagonists'
lives, such as the uninspired love story between Lucas and Eva, or the
customary "cop has no time for his kid" plot line that I suspect applied to
98% of every divorced cop in the 1970s.
The continuously
interesting but rarely remarkable American Gangster does have some powerful sequences scattered around its lengthy running time. One is the
technicalities of the narcotics and the smuggling of them, an area in which Lucas
diverged from your average dope dealer. Another is the relationship between
Lucas and his mother, which is magnificently played by Ruby Dee and
culminates in a fantastic scene in which the matriarch feels her son has
gone too far. Dee's compelling performance is the film's emotional
zenith. There is also quality in the verbal and tactical duelling between
Lucas and Roberts towards the end. It shows how two opponents remain
utterly professional even after a potentially fatal shootout. Their
mutual respect and selfishness reveal how two
people operating on different sides of the law aren't necessarily
fundamentally that different. What they have in common is that their sympathies
for the victims of crime are mainly nominal – both having been hardened by the
brutal urban life they are a product of.
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