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The Daily Tar Heel

Scorsese's Epic 'Gangs' Bulges With Early American Drama


Martin Scorsese has established himself as arguably the greatest living American filmmaker with such triumphs as "Taxi Driver," "Raging Bull" and "Goodfellas." With such success under his belt, his critics have come to seek perfection at every point.

"Gangs of New York" certainly hasn't been spared the scrutiny. The film is a violent epic that clocks in at nearly three hours and focuses on a tumultuous chunk of America past at a time when America present is having to jump its own hurdles. In terms of scope and, ultimately, execution, the film eclipses the vast majority of modern-day movies.

The bulk of the movie takes place in the gritty "Five Points" area of Manhattan. At the center of the action is William "Bill the Butcher" Cutting (Daniel Day-Lewis), a looming figure who commands the respect of all as he saunters through the streets in a stovepipe hat and tidy coat.

Underneath the fancy threads beats a cold heart that has no place for the thousands of immigrants being brought to New York's docks each day. Bill thinks the Irish in particular -- with their devotion to the "Roman popery" -- are tainting the purity of his nation, and he's willing to kill and maim to preserve it.

The film's first battle scene is also its best, as the Irish "Dead Rabbits" and Bill's nativists pour out of dilapidated buildings like roaches before covering the snow with each other's blood. Bill ends the skirmish by slaughtering Priest Vallon (Liam Neeson) in front of the Irishman's young son, Amsterdam.

After spending 16 years in a reform school, the boy (Leonardo DiCaprio) emerges vengeful. Intending to kill Bill in public, Amsterdam gets close to the butcher by infiltrating his entourage and gaining his trust. But it should be said that Scorsese has more than a simple revenge story on his mind.

Throughout his career, the director has proved extraordinarily capable of capturing New York City's essence. This time around, he substitutes shanties for skyscrapers. His vision of the dirty, corrupt Five Points is nothing like the gentrified metropolis that has risen in its place.

"Gangs of New York" is messy, bloody and slightly overwhelming -- it bulges at the seams with characters, ideas and themes. Some don't work -- the bruising romance between Amsterdam and pickpocket Jenny (Cameron Diaz), for example, strays from the point of the story.

Despite its flaws, the film is rarely less than brutally compelling. DiCaprio's performance is passable, but it's Day-Lewis' fierce and spellbinding tour de force that allows the movie to bare its teeth.

It shows how instrumental violence and bloodshed have been -- and continue to be -- in the evolution of civilization. "Gangs of New York" isn't Scorsese's best film -- but it comes close. And when one is talking about this master of American cinema, that's really saying something. Like Picasso's cubist paintings, it's a fractured masterpiece.

The Arts & Entertainment Editor can be reached at artsdesk@unc.edu.

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