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American
Gangster (2007)
Director:
Ridley Scott |
COUNTRY
USA |
GENRE
Crime/Drama |
NORWEGIAN
TITLE
American Gangster |
RUNNING
TIME
157
minutes |
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Producer:
Brian Grazer
Ridley Scott |
Screenwriter:
Woody Allen |
Review
As a portrait of the
moods and mechanisms of the big city mob, American Gangster
treads familiar territory. 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, but 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 all-business methods, or the fact the 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
(played standoffishly by Russell Crowe), who was one of few non-corrupt
police officers in New York in the 1970s. One of Ridley Scott's mistakes
is that he dwells to much on the other aspects of his two protagonists'
life, such as the uninspired love story between Lucas and Eva, or the
customary "cop has no time for his kid" séance that I suspect applied to
98% of every divorced cop in the 1970s.
The continuously
interesting but rarely remarkable American Gangster has some very
powerful sequences scattered around its lengthy running time. One is the
technicalities of the narcotics and the smuggling, in which Lucas
diverged from the average dope dealer. Another is the relation between
Lucas and his mother, played by the magnificent Ruby Dee, and
culminating with a fantastic scene after the matriarch feels her son has
gone too far. Dee's compelling acting provides the film's emotional
zenith. There is also quality in the verbal and tactical combat 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 is an interesting portrait of how two
people operating on different sides of the law not necessarily are
basically different. What they have in common is that the sympathy they
have for the victims of crime is only nominal - both hardened by the
brutal urban life they were a product of.
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