Day-Lewis can't save Gangs of New York

In the 1840s and 1850s, up to 15,000 Irish people a week were pouring into New York Harbour. Driven from their homes by famine and centuries of British cruelty, they looked upon America as a land of golden opportunities. As they approached the country of their dreams after the long torturous journey on the coffin chips, their hopes were raised by the Statue of Liberty. But they were swiftly crushed when they were spat on and pelted with stones by the Natavists, men born on American soil who saw the Irish immigrants as invaders. Gangs of New York, from the start, challenges the 'melting pot' myth of the American Dream.

Martin Scorsese's new release is ultimately a story about personal vengeance set against the backdrop of the American Civil War, but it encompasses well the racist manner in which not just the Irish, but every immigrant was treated by the natives of New York.

New York, at the time in which the film was set, was divided by tribe-like gangs who fought each other for territory and the spoils of criminal activity.

Leonardo DiCaprio plays Amsterdam Vallon, an Irish immigrant who at a young age witnesses his father's brutal death at the hands of Natavist leader Bill the Butcher (Daniel Day-Lewis). Liam Neeson appears for a remarkably short time given his acting stature, as Amsterdam's father, 'Priest' Vallon, who leads the Irish gang the 'Dead Rabbits' against the Natavists.

Amsterdam returns to New York after being incarcerated for 16 years following his father's death, and ingratiates himself into Bill the Butcher's favour with the view of betraying him at a later date. New York at this stage is still divided into gangs but the leaders of the Irish community have dispersed.

Cameron Diaz appears in the film as Jenny Everdeane, a pickpocket who serves as DiCaprio's love interest. Aside from being a bit of eye candy, she contributes very little to the film, and is too clean-cut for her role.

Broadbent plays the corrupt politician Boss Tweed of Tammany Hall, who sees every Irish immigrant as a potential vote. Brendan Gleeson turns in a great performance as an Irish mercenary who fights with 'Priest' Vallon against Bill, and then helps Amsterdam wage his personal war.

The film has its moments. The battle scenes are bloody and realistic and Bill the Butcher comes across as a delightful psychopath in Day-Lewis' capable hands.

It is also beautifully shot. The set of the 'Five Corners', the area of New York where the gangs lived in squalor and filth, is actually a two-mile long film set built in Italy. None of those handy computer generated set pieces for Martin Scorsese.

But this movie never develops its full potential. The historical aspect comes across as something stuck on as an afterthought by the director.

Poverty and racial tension in New York circa 1860 made the city a powder keg and all it needed was one spark to cause an explosion. This spark came in the shape of conscription for the American Civil War. President Abraham Lincoln considered all able-bodied men eligible, and only by paying a fee of $300 dollars could a man be excused from the army. This was not an option for those in the poorer classes, and recognising the injustice they were receiving, they rebelled.

Scorsese treats us to a glimpse of young Irishmen alighting from the coffin ships, signing a form giving them American citizenship, then being conscripted for the army by the next official on the line.

But the most important part of New York's history is barely touched upon, the 1863 draft riots. They were the worst riots in American history. People, sick of living in poverty, while a short tram journey away in upper New York, the elite led a decadent existence, rejected conscription and rioted, burning, pillaging, looting and killing. Gangs of New York indicates that all this was happening, but only as a backdrop to Scorsese's story, which pales in comparison to actual events.

There are other faults. Leonardo DiCaprio is completely overshadowed by the Oscar-winning performance of Daniel Day-Lewis. DiCaprio's character is full of inconsistencies; one minute he's throwing a bible in the river and telling a priest to 'go to hell', the next he's praying in a church and has the priests standing beside him in his battle against Bill. To top it all off, his Irish accent is atrocious throughout.

And if you don't like blood and gore, then steer well clear, because this film has it in gallons.

I was expecting a lot more from this movie, giving Scorsese's pedigree and the actual events that took place in New York during the film's timeframe. I came away from it unsatisfied.

Gangs of New York is hotly tipped for the Oscars, and its release date was meant to tie in nicely with the nominations. But while Day-Lewis puts in a sterling performance, I don't think the film is good enough.

BY JOANNE CORCORAN




Some of us have an aversion to musicals, some of us can't get enough of them, but when a film like Chicago comes along, all past bias should be put aside. Why? Because despite having its leading actors break into song every five minutes, this film is pure entertainment, the old-fashioned way. Don't get me wrong, you're not in for some sedate viewing pleasure in the vein of Gene Kelly's Singing in the Rain.

Chicago is far more sophisticated, dark, and not forgetting sexy, than that.

The other obstacle some people might face before buying a ticket for this movie is the thought of Catherine, Renee, and especially Richard trying to impress us with their vocal abilities. Can they sing? I hear you ask. Well to put your mind at rest, yes they can, even stiff as a plank Richard Gere.

The film is based on the award-winning musical by John Kander, Fred Ebb and Bob Fosse. Zellweger plays Roxie Hart, who dreams of becoming a star in the Windy City, like her idol Velma Kelly (Zeta-Jones). Both have to put their dreams on the backburner when unfortunate circumstances see them serving time in jail at the same time for separate murders. Gere comes in as the hottest lawyer in town, who agrees to take Roxie's case when her slow-witted husband begs him. Despite being in prison, Roxie's career explodes, much to the annoyance of Velma, who still has her eyes on the limelight.

The acting is absolutely fantastic. Bear in mind that we live in a time where some stars are applauded just for looking good on the screen, and are rarely asked to prove their talent. So to see the three leads up there strutting there stuff in the most revealing of outfits, and in the classiest way, quite simply takes your breath away.

And it's not just the three leads. The supporting actors are also a revelation. The prison matron, Miss Morton (Queen Latifah), Roxie's husband Amos (John C Reilly), and the other girls on 'murder row', give terrific singing and dancing performances.

The songs themselves can only be described as raunchy and despite the official cert being 15PG, I most certainly wouldn't sit with my child, or parent, whatever the case, and watch it.

If you liked the Moulin Rouge, you'll like this; if you didn't, then don't worry, it's not as loud, or confusing, but maintains all the good elements.

The only fault I could possibly point out is that it will be hard for a generation used to Tarantino and Mendes to adjust to this breaking into song every couple of minutes and the frequency of the numbers may grate on the nerves of someone not used to the musical genre.

The film has been nominated for eight Golden Globes, including all the big ones like Best Director, Film, Actress (the two female leads), and Supporting Actor and Actress, and is hotly tipped for the Oscars. If there is any justice in the world, The Two Towers should win the major accolades, but Chicago is definitely a deserving nominee.

BY JOANNE CORCORAN