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Gangs of New York
(2002)
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Director:
Martin
Scorsese |
COUNTRY
USA/Italy |
GENRE
Drama/Historical/Crime |
NORWEGIAN TITLE
Gangs
of New York |
RUNNING
TIME
166
minutes |
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Producer:
Alberto Grimaldi
Harvey Weinstein
Bob Weinstein |
Screenwriter:
Jay Cocks
Steven Zaillian
Kenneth Lonergan |
Review
Gangs of New York is an
impressive film in many ways; chiefly visually, as it brings you back to
the long gone infancy of New York City with its rivalling gangs,
budding racism, and peculiar coalescence of progressing civilization and
crude savagery. Filmed at a majestic custom-built studio in Rome, in
which several blocks from 1860s New York were constructed, and saturated
with archaic – and arguably well-researched – dialects and sociolects of
English, Gangs of New York does indeed create a separate universe
for itself; one that should have boded for a scintillating adventure
about the history of the Big Apple.
But although Scorsese definitely put
effort into making an as comprehensive and detailed picture as possible,
his film is also highly and strangely stylized – both in its staged and
overdone set-pieces (such as the opening scene) and in characterizations
(such as the Day-Lewis character). These are elements which Scorsese
elevates and constantly puts to the front, but which ultimately don't
have the purpose or weight to deserve such showboating. Take Daniel
Day-Lewis' character, for instance – the film's antagonist and most
flashy character. His performance has been applauded as the highlight of
the film, but in my opinion it is caricatured and often bordering on
counterproductive. Day-Lewis has abundances of captivating force and
authority – you can't help but look at him – but he also puts too much
into his performance, making his Butcher seem otherworldly instead of
tangible. Like his
There Will Be Blood character a few
years later, he doesn't seem like a man that could have really lived.
Our protagonist Amsterdam Vallon, played with usual
intensity by Leonardo DiCaprio, does so, on the other hand. And it's
through his endeavours that the film is able to draw us in
with a bit of heart – in addition to the constant amazement Scorsese
generates. His relationship with a sweet and surprisingly effective
Cameron Diaz also threatens to become very effective, had it only been
given a little more room to develop. When push comes to shove, however,
what holds Gangs of New York back is the overall quality of the
story. The film presents some rivalry and conflicts, magnifying them as
best it can, and then adds a slight love story, a personal vendetta, and
a grand finale. But for all the film's initial peculiarities, the
impression it leaves in the end is one of standardized structure and
run-of-the-mill narrative build-up. Gangs of New York is an
ordinary story concealed in an extraordinary shell.
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