Martin Scorsese's latest film, Gangs of New York is a failed anti-war
film. It is 165 minutes of some of the most violent footage ever seen in a film intended for mainstream entertainment. As a fan of Scorsese's, I have to say that even the brutality of Good Fellas could not have prepared me for the assault that is the experience of watching this film. Even leaving aside the violence, I admit that I am mystified by all the hoopla surrounding Gangs of New York. Leonardo Di Caprio only slightly adapts the role he had in Titanic. Now instead of a sweet Irish immigrant, he is a nasty one. Cameron Diaz appears to have thought the Irish accent was optional, as it fades in and out about every fifth word. For his part, Daniel Day-Lewis looks and sounds too much like Dustin Hoffman's Ratso Rizzo to be truly convincing.
Worse, the film is so thematically confusing that it is at first not clear what Scorsese is trying to say. To be sure the choice of material is worthy. The plight of working class immigrants in 19th century New York City, and the Draft Riots of 1863 have, to my knowledge, been given no filmic attention. Even more intriguing are the possibilities inherent in Scorsese's observations about the interplay between the nativist sentiments embodied in Daniel Day-Lewis' character, Bill the Butcher, and the corruption of the US government. Taking place as it does during the American Civil War when Boss Tweed held New York City in his grip, the film's setting certainly provides ample opportunity for some reflections on these important topics. In fact, I think the message of this film is as disturbing as the way it is told. It would seem that Scorsese intended to make a film that was anti-war, but ended up with one that is anti-government and anti-law.
In brief, Gangs of New York is the story of two rival gangs, one
"nativist" lead by Bill the Butcher. The other, a group of Irish immigrants called "The Dead Rabbits" initially lead by a man called "The Priest Vallon" (Liam Neeson). The Priest meets an early demise at the hands of Bill, and his death is witnessed by his young son, the unlikely named, Amsterdam Vallon (Leonardo Di Caprio). The son spends the next 16 years in Roman Catholic (St. Amsterdam?) reform school plotting his revenge. It is a familiar story and an almost Shakespearean tragedy (think Hamlet).
This movie was a tale of an immigrant seeking money and power who untimely set up his own demise. The producers did a good job at pointing out certain features that let you into the life of an organized crime leader. He tells of his humble beginnings and shows you in details how he rose to the top. The producer had a point to make and I took that point as being you can never get and stay someone good while being bad. The sound effects and graphics also makes this movie. They show just enough to intrigue you but yet not to completely make you sick to your stomach. The music is very telling and
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
The movie begins in New York, in 1843, with a gang fight. Bill “the butcher” Cutting’s gang of “nativists” have challenged the “dead rabbits” (a gang of mostly Irish immigrants) to a fight to settle once and for all who is the most powerful gang in the area. After an intense battle the “nativists” win by killing the leader of the “dead rabbits”, also Amsterdam’s (the main character’s) father.
In the beginning, it seems unlikely that Gangs of New York will be an example of naturalism. Unlike To Build a Fire or Open Boat, the whole story of Gangs of New York happens in a civilized area, and nobody is in a case of danger because of the nature. Naturalism is implicit in this article. But being implicit does not mean it is ineffective. Instead, the idea of naturalism within this article is more confound than other two stories we studied before.
The classic gangster film focusing on a host of norms defined by some of the first gangster films. This genre originated as an escapism from the negative depression era. People would flock to see the gangsters go from rags to riches with their glitzy lifestyle and beautiful women. As Shadoian puts it, “The gangster’s fizzy spirits, classy lifestyle, and amoral daring were something like Alka-Seltzer for the headaches of the depression” (Shadoin 29). Not all this came easily for the gangsters though, bloodshed is defined as a part of business with guns a constant motif. Despite these negative outcomes, it’s easy to see how this genre was such a great elusion from the everyday where the American Dream seemed like it might not even exist anymore.
While at the Lincoln Memorial, Philip’s father took issue when an elderly woman had compared Lincoln to Lindbergh. After a brief confrontation between Mr. Roth and a man in the same tour group as the woman, the man called Mr. Roth “a loudmouth Jew.” Even though this was a small instance of anti-Semitism, it was a foreshadowing of what was soon to come. This first occurrence of prejudice to the Roth family sets the theme of anti-Semitism for the rest of the novel. If there could be hate and discrimination in front of the Lincoln Memorial, a place honoring the same man who effectively freed the slaves with the Emancipation Proclamation and one of the greatest symbols of equality and freedom in the United States, there could be discrimination
Picture Manhattan in 1860, a time before the city had been dolled up and gotten ready for the silver screen, before the glamour and allure took over. Amsterdam Vallan (DiCaprio) is a young Irish man that migrates to the USA at a young age. Amsterdam’s story takes place in Five Points District of New York, a filthy and dangerous part of the city before it was deleted form history. As a young boy Vallan witnessed his father’s murder at the hand of William Cutting or Bill the Butcher (Day-Lewis) during one of their many gang wars. As Amsterdam’s story progresses along side The Butcher they become inseparable, but Amsterdam had ulterior motive. Ultimately, Amsterdam attempts to betray his new found ally in order to avenge his father’s death. Historical accounts of events are almost always synthesized by the storyteller; in the case Gangs of New York Martin Scorsese tells of Five Points, The Dead Rabbits Riots, and The Draft Riots, but is his fictional story accurate through history?
Aside from its acting, the other major influence which Mean Streets had upon American film-makers was through it's use of a rock n' roll soundtrack (almost perfectly integrated with the images), and in its depiction of a new kind of screen violence. Unexpected, volatile, explosive and wholly senseless, yet, for all that, undeniably cinematic violence. The way in which Scorsese blends these two - the rock and roll and the violence - shows that he understood instinctively, better than anyone else until then, that cinema (or at least this kind of cinema, the kinetic, visceral kind) and rock n' roll are both expressions of revolutionary instincts, and that they are as inherently destructive as they are creative. This simple device - brutal outbreaks of violence combined with an upbeat soundtrack - has been taken up by both the mainstream cinema at large and by many individual `auteurs', all of whom are in Scorsese's debt - Stone and Tarantino coming at once to mind.
This paper will cover issues that young minorities encounter in the movies; Crips and Bloods: Made in America (2008), Gran Torino (2008), A Better Life (2011). Movies will be summarize, and compare and contrast youths experienced. Criminological theories shall be utilized to further elaborate issues. Finally steps and theories will be utilized towards solving issues, also possible methods to correct the issues will be addressed in the end.
New Jack City, noted as ‘the crime film of the 90’s’,serves as an important episode for African-American people in America. Set in New York city, the film depicts the story of a success-driven antagonist Nino Brown (Wesley Snipes) who builds an empire powered by organized crime, drug trafficking, and Black delinquent young adults trapped in the cycle of crime. Ronald Reagan’s economic policy coupled with the popularity of crack-cocaine in the inner city creates inconsistencies and untapped markets in the poor community which Nino Brown brilliantly capitalizes on and exploits. His empire is able to successfully cut out the middle men in the drug trafficking market and centralize their operation in a single low-income housing complex inhabited
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American Mafia in cinema?
The Godfather is most notably one of the most prolific films of its time. This "gangster" film displayed many transformations of permeating color to give the viewer observable cues in its mise en scene that drew one right into the movie. The dramatic acting set the tone of the film with a score that lifted the viewer right out of their seat in many scenes. The directing and cinematography made The Godfather ahead of its time. The nostalgic feel of family importance and the danger of revenge lets us into the life of the Mafia. Even though no other techniques would have given the viewer a feeling of inside the mob like the mise en scene of the power the godfather held, the characters are reinforced literally and figuratively because the story views the Mafia from the inside out, and the cinematography of the film gives it a dangerous and nostalgic feel.
... educated the average person. The Mafia, as depicted by the Corleone family, is very close knit; those that are not even actual family members are still considered part of the “family.” This movie can be watched repeatedly and each time is as enjoyable as the first. It is a cultural eye opener and lead to two sequels and several other media items, such as today’s television drama The Soprano’s. Though the world does not condone what this lifestyle is about it will always be interested, and somewhat glorify the traditions and lifestyle of something so secretive and just plain bad.
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
Gangs originated in the mid 1800’s in the cardinal direction using it as a method to defend themselves against outsiders.The idea of gangs became populous, powerful, and a broad influence. But like all powers, they tend to corrupt and recognizes violence as a way of getting what they want faster than other methods.They turn violence into fun, profit, and control.Creating a situation that affects youth in today’s society.