by Epic films on the American War of Secession were quite big in the 80s and 90s but rare in the early 2000s, even more so films that dealt with the era, not directly the war. But what was America like when North and South fought over it? How did people live in the major cities, most of them on the East Coast? When Martin Scorsese covered this in GANGS OF NEW YORK in 2002, focusing on a rather small section in Manhattan, the material was fresh again. Scorsese being who he established to be in the course of his long and divers career, especially with very different films such as TAXI DRIVER (1976), attention was immediately drawn to this resurgence of the historical film. And even after almost two decades, it is still an important film. One reason towers above all others. This was the film that catapulted a young man named Leonardo DiCaprio from teen romance fame to a world-conquering career, proving that he wasn’t afraid of challenges. The biggest of them? Standing his ground against one of the most respected male actors of his time and age.
The screenplay was written by Jay Cocks, the very same man Scorsese had already collaborated with when making THE AGE OF INNOCENCE (1993), also starring Daniel Day-Lewis in the lead. Cocks shared duties with Steven Zaillian, famous for writing SHINDERL’S LIST (also 93) and Kenneth Lonergan. They based their story on Herbert Ashbury’s 1928 book THE GANGS OF NEW YORK, an account of the time quite popular back then but rather forgotten when they picked it up upon Scorsese’ s recommendation. It seems the director already had a profound idea of what he wanted to accomplish when he commissioned the script. And while GANGS OF NEW YORK is an important portrayal of mid-nineteenth century America, it should be said that several artistic freedoms were taken. For example, Day-Lewis’ infamous character William “Bill the Butcher” Cutting was based on the real William Poole. But it is beside the point whether or not this is factual. This is not a documentary. In fact, this is even better, thanks to a skilful blend between fact and fiction.
The defining moment of GANGS OF NEW YORK happens at the very beginning of the film. Five Points, Manhattan, in 1846. Two gangs fighting over dominance. The English Protestant “Natives” led by Butcher against the Irish Catholic immigrant “Dead Rabbits” led by “Priest” Vallon, played by Liam Neeson. The street battle rages ferociously but ends abruptly when Butcher stabs Priest to death (which shouldn’t come as surprise to anyone familiar with Neeson’s films). Priest’s son, Amsterdam (DiCaprio here doubled by a boy) has to witness his father’s death. Taken to an orphanage on Blackwell’s Island (nowadays known as Roosevelt Island), he swears to take revenge on the man that claimed his father’s life. And who could blame him? Amsterdam’s anger has sixteen years to mature, together with his body. As he leaves the orphanage, he is handed a bible he throws into the East River when crossing back into Manhattan. Scorsese is a devoted Christian, eloquently symbolizing one of the main themes underlying this story. Faith and reality are in constant conflict.
This conflict is deeply rooted, or so it seems, in the American Nation that may or may not have existed at the time, caught between traditions, industrialization, a lack of space in the cities as much as an abundance of it still available in the West, a Manifest Destiny that is alive and dead at the same time. A Nation not only symbolically but literally divided, seeking union, at the same time a new meaning following the Mexican-American War clarifying that, even in the New World, geographical growth is limited. When we see five Points, epitome of the conflict, we realize all these conflicts people are constantly living with. Amsterdam works his way up, coming close to Butcher. Close enough in fact to raise another conflict: the man who killed his father and respects him beyond his grave despite the hatred he always held against him for being Irish and Catholic, gradually turns into a father figure for Amsterdam.
DiCaprio plays Amsterdam as a very complex character, drawn between his wrath but also the humanity he learned from his father that so starkly contrasts Butcher’s violence. But also the Butcher is difficult to figure out when he gives slabs of meat to those in need or patiently explains to Amsterdam where to put a knife into a man to kill him best. A lesser actor than Daniel Day-Lewis would’ve perished in the process without a doubt. And with him, the entire film would’ve fallen apart to a great extent. Day-Lewis’ strength is also DiCaprio’s curse. While the balance between the two actors matches that of their characters, and even though DiCaprio is doing a hell of a job, he’s struggling to keep up with Day-Lewis’ intensity. Amsterdam’s budding relationship with Jenny Everdeane (Cameron Diaz) is a good subplot, not only giving the character but also DiCaprio some room to work and breathe in away from the Butcher, further picturing the era with its horrors but also humanity and, yes, fun. Here, GANGS OF NEW YORK is an elegant portrait of a people and a time caught somewhere between the past, present and future, running away from itself, running in circles, and taking a stand even against better judgment.
It’s a funny feeling being taken under the wing of a dragon. It’s warmer than you’d think.
Amsterdam Vallon
None of this would work as beautifully if it weren’t for Scorsese’s direction, but also Michael Ballhaus’ cinematography. Nothing is slick, they spare us none, so we relate with the characters and their misery. But they also accomplish to establish the camera almost as a narrator or character of itself. By framing, creating a subtext through visuals, not to speak of the very eloquent symbolism, of which there’s no shortage throughout the film, GANGS OF NEW YORK is certainly lifted to another level. At the same time, and this is where it fails to qualify as a genuine classic, it is a bit too long and self-indulgent. Not much. Never enough to spoil the fun and experience in any way. But enough to prevent a higher rating.
Amsterdam emerges as the new leader of the Dead Rabbits, challenging the Natives (not the actual Natives, during the time known as “Indians,” mind you) to another battle for dominance over the Five Points. How very symbolic they’re holding their battle during the height of the New York City Draft Riots between July 13 and 16 in 1863, just days after the Battle of Gettysburg turned the tables in the Civil War towards the Union after General Grant defeated Lee in Pennsylvania. Just like Amsterdam noted, who could’ve afforded a 300 dollar commutation fee (equivalent to 9,200 dollars in today’s money). The riots are an expression of a nation mutilating itself in search of identity, where Irish immigrants can sign up for the Union fresh off the boat to fight a war between brothers when still only trying to escape the consequences of the Great Famine between 185 to 1849, but may find their heads kicked in by “Americans” considering themselves “Natives.”
The fight is cut short, as Butcher is fatally wounded by shrapnel, cause by gun shots from the Navy. The same troops supposed to save the Nation, not kill it off. Amsterdam is betrayed. The soil beneath his feet his father before him fought for, the Nation living on it, they took revenge right from his hands. But Amsterdam has a conscience. He buries Butcher right next to his father in Brooklyn, an act of forgiveness not everyone would be capable of. Amsterdam and Jenny set sail for California. To start a new life in San Francisco. They cling on to the ideals of the Manifest Destiny, the firm belief that moving West no matter what should solve all problems. I- a sense, this ideal hasn’t transformed much, just thinking of Jack Kerouac’s 1957 novel ON THE ROAD. In a time-lapse, we see Manhattan over the graves of Priest and Butcher as it changes and evolves over time until the city is unrecognizable and the graves are gone. And with them the memory of the people that had their share of building America, fought for it, died for it. If it weren’t for films like GANGS OF NEW YORK, their lives, factual or fictitious, would’ve been forgotten, alongside their sacrifice and the lessons we can learn from them.
With GANGS OF NEW YORK, Martin Scorsese and his apt crew made a very important film. One that can be enjoyed for what it is on the surface, a story of wrath. But if you scratch the surface and dig deeper, you realize this is much more. A statement on America’s history and self-reflection, that never offers any simplified answers to very complex issues that are relevant to this day. How to analyze or understand GANGS OF NEW YORK is a matter that lacks definite answers. That’s a sign of outstanding quality. Even after years, the film is fresh and informative. It’s much bigger than marking the point where Leonardo DiCaprio started his rise to real stardom.
