GANGS OF NEW YORK

US, 2002, 162 minutes, Colour.
Leonardo di Caprio, Daniel Day Lewis, Cameron Diaz, Liam Neeson, Brendan Gleeson, Jim Broadbent, John C. Reilly, Gary Lewis, Henry Thomas, Alec Mc Cowan, David Hemmings.
Directed by Martin Scorsese.

Martin Scorsese had had this project in mind for thirty years. It was intended as his masterpiece as well as a continuation of his portraits of New York, whether Mean Streets stories like Taxi Driver, praise of the city like New York, New York, a historical perspective like Age of Innocence or gangster saga like Goodfellas.

Many have found this epic too bloodthirsty and questioned Scorsese's interpretation of city life in the 1860s. If one can withstand the shock of the violence, it certainly repays a second look where Scorsese's skills and artistry are more evident, whether it be the staged battles between the gangs or simple scenes where Butcher Bill sits at Amsterdam's bedside and quietly tells his story. In fact, the director's cut should be better than this version which has been pared to three hours for acceptable commercial release. It seems as if Scorsese did his cutting from the last hour and more information and scene-setting for the build of the final clash between Bill and Amsterdam is needed.

What we have is an exercise in myth-making, the thesis that the frontier of the West was not the only violent frontier. New York with its influx of migrants, especially the Irish, was at flashpoint due to the anger of the 'natives'. Political corruption, symbolised by Boss Tweed, was rampant. Troops were being commandeered from the city to fight for Lincoln while it was clear than many sympathised with the south.

This is the social and political backdrop to the story of the gangs. The Irish, led by 'Priest' Vallon (Liam Neeson) are defeated by the natives, led by Butcher Bill (Daniel Day Lewis). Vallon's son sees his father die and swears revenge. When he returns as Amsterdam (Leonardo di Caprio) after years in an orphanage, he finds Bill supreme, in cahoots with Tweed (Jim Broadbent), and many of the Irish working for him. He ingratiates himself with Bill who looks on him as a son. A kind of rivalry builds over affection for Bill's protege, the pickpocket, Jennie (Cameron Diaz). Eventually, the truth is revealed and a pitched battle between Bill's followers and those of Amsterdam is the culmination of the action. The East coast had a violent frontier as well - and this is what New York and its respectablity is built on.

While this may or may not be true, Scorsese makes it absorbing, a credible hypothesis that may tamper with historical fact but makes its point about American violence. The strong, even manic, performance of Daniel Day Lewis gives the film a kind of psychotic strength. Leonardo di Caprio carries off the difficult role of Amsterdam and there are some intense supporting performances. Not to everyone's liking, but a powerful piece of cinema history.

1. The films of Martin Scorsese, his focus on gangsters? Moving back to the 19th century? A New York saga? History and legend?

2. The title, expectations? The history of gangsters in the 19th century, leading to gangsters in the 20th century? The history of New York City? In the 19th century? The migrants, the locals, the clash with the Irish? The Civil War, President Lincoln, his stances on race? The New York stances on the wall? Government and Tammany Hall?

3. The re-creation of history, the sets, decor, costumes? Re-living the past? The musical score?

4. The strong cast?

5. Production interference, editing the film, omission of scenes? The continuity of plot, especially in the development of the character of Amsterdam Vallon, especially as he grew older and his taking on leadership?

6. The introduction, Butcher Bill and his personality, his gang, his work as a butcher, his philosophy of life, anti-Irish, anti-Lincoln and throwing the knife at the image? His cruelty? Patriotism? And the threats of the gangs, his followers, his charisma in leadership, his enmity with Priest and the gang, yet his respect for Priest?

7. The character of Priest, his gang, the Irish background, his name and origin, his clothes, his relationship with his son, preparation for the fight, the
melee, his death, his memory? His son going to his grave?

8. The staging of the fights, their intensity?

9. Time passing, the son growing older and returning?

10. The focus on Amsterdam, his age, his past and his memories, in the institutions, to New York City, the insertion of flashbacks of his memory? Interactions with Mulraney, with McGloin?, with Bill? The events in New York at this time, the various stances, meeting Johnny, the past friendship? taking on the identity of Amsterdam, taking his time and insinuating himself into Bill’s gang?

11. Bill, still working as the butcher, the scenes with his meat, his group and their loyalties, his power with Boss Tweed, the confrontations, the alliances, the brutality? Jenny and her story, the sexual relationship, later his throwing the knives at her? his interest in Amsterdam, getting him as his assistant, the talks between them, his comments on priest and his respect? His bigotry towards the Irish, the demonstrations, the attacks? His attacks on ‘niggers’? His speaking against Catholics? Speaking against the war? The discussions with Boss Tweed? His relationship with women, in the club, the prostitutes, Jenny?

12. Amsterdam, his position, being attentive to Bill, Johnny and his betrayal, the discussions with McGloin? Seeing the policeman and the memories of the past?

13. Jenny, her life, pick-pocketing, her skills, seeing her in action, aloof with Amsterdam, Johnny in love with her, the various tangles, emotional, at the meals? The sexual relationship with Amsterdam?

14. Boss Tweed, his character, ruling, voting, buying votes? Upholding the law while breaking the law? His not wanting to watch the violence, his respectability, in his office, the meetings? Bill and the negotiations?

15. Monk, the past with Priest? His interest in Priest’s son, intervening, advising, the suggestion that he run for office, Bill and his antagonism, the support from Monk, his murder?

16. Time passing, Amsterdam becoming older, building up following?

17. The key scene of Bill and is talking with Amsterdam, the revelation of himself, the possibilities?

18. The denunciation, the cop and his role, his self-image?

19. The build-up, the final confrontation, the hostility, fight, Bill’s death? Amsterdam and Johnny?

20. Jenny, the possibility going to California, after the fight, Amsterdam and Jenny, moving to new beginnings?