Bloody hell

Film: Gangs of New York

Rating: 4 out of 5

Just when everyone thought the era of Scorsese crime films had passed, he made an effort to revive some of their qualities in this lengthy and shockingly bloody historical drama. The movie transports us back to a quiet, snowy Manhattan morning in 1846 that explodes into violence. The warring groups: the "Dead Rabbits," Irish Catholic immigrants led by the revered Priest Vallon (Liam Neeson), and the "Natives," native-born New Yorkers led by the ferocious and mustachioed Bill the Butcher (Daniel Day-Lewis). The gruesome battle ends with Bill killing Priest, bringing victory to the Natives. Priest's young son Amsterdam is sent to an orphange out of town.

Sixteen years later, Amsterdam (Leonardo DiCaprio) returns to New York, where the recent announcement of the Emancipation Proclamation has instilled a new rumble of anger. Bill the Butcher has become de facto king of the Five Points district, allying with the corrupt regime of politician "Boss" Tweed (Jim Broadbent) and exerting his influence over the entire region. He organizes illegal boxing matches, collects tax from citizens on a whim, and channels new immigrants directly into the army. Amsterdam, unrecognizable to them, encounters many of his father's former loyalists now under Bill's control, such as Constable Mulraney (John C. Reilly) and the surly Walter McGinn (Brendan Gleeson). He also meets a promiscuous pickpocket (Cameron Diaz), and they share a somewhat plot-deviating romance. His primary motive, however, remains unchanged. Amsterdam wriggles his way into Bill's inner circle, biding his time for the moment to exact his revenge.

Though the whole 170-minute film is consistently a technical triumph, the first hour is the most well-executed part. There is an engrossing and unique alacrity, and (deliberately, I would guess) a fairly medieval feel. The effect, unfortunately, wears off around the time Amsterdam saves Bill from an assassination attempt. The film's middle section submits to hackneyed costume drama features, yet is revitalized briefly with Amsterdam's own assassination attempt. Despite this scene's marvelous zeal, it gives way to a bit of a forced third act.

Nevertheless, no matter how many individual moments take a dip in charm, Day-Lewis is unfaltering in his portrayal of the brutal antagonist. Bill the Butcher is frightening on two levels; most of his subjects are only aware of the first, his vast amount of power. But the foundation for our understanding of him is his vicious battlefield demeanor. He proves to be not a complete savage, though, having much respect for his deceased opponent Priest Vallon, but he is motivated by his patriotism and disgust. Bill isn't the ultimate villian necessarily, but he's experienced, and skilled enough with a knife to be memorably fearsome. And, an added bonus, the UK-born Day-Lewis shows off his ability to turn an American accent into something ostentatiously wonderful.

Leo DiCaprio, on the other hand, is not as successful as his co-star. In most ways it is a fine performance from a greatly talented actor, but the ultimate effect is a cluster of emotion hidden behind an unfriendly beard and a somewhat intermittent Irish accent. He evokes some of the same feelings for his role in Scorsese's The Departed to much more avail.

As the final shot goes to great lengths to explain, the film's central theme is an ambitious exposition of the true origins of political New York. It wasn't all cozy chatting and document drafting, it happened in the streets with unspeakable violence. Thinking of the movie this way gives it a strong purpose, and makes it worth watching simply for its historical value. Beyond this, although it is largely a well-made film, it is relatively forgettable.