Eric Middleton
Sorrento: Review Writing
4/10/2013
Column Review
Introduction
to the Mob Genre/American Gangster Review
When one views mob films as a child, they’re eyes are
initially drawn to the overwhelming sequences of action that ooze through the
screen. The action is usually loud, boisterous, and very fast paced. A sense of awe is meant to be drawn out as
immorality becomes painted on the screen. In the parents eyes, if a child
watches a mob film with him or her, there is usually a sense of instructing the
child that if you do wrong, this is the path you’ll end up in. The corruption
of Michael Corleone comes to mind as a lesson served towards the evil influence
of the mob. From a saintly point of view,
the mob are tyrants, bent on destroying the local order of society, and in turn
bringing about an Anarchy upon the world. The mobs are the aggressors to the
untrained eye. Yet, as we delve further, we shall see the mob is actually
reactionary. They are merely reacting to a world that, to them, has presented
minimal opportunity of significant progression.
In
American Gangster, one of the most appealing things, when looking back on the
film, would be its world. In the 70’s, the black community was going through a metamorphosis
of prying away from the mass movements that were the civil rights
struggle. Many blacks were looking for a
new direction to turn, while also coping with the disappointing burdens of
having their leaders assassinated. The
Black Panther movement became marginalized fairly quickly by the FBI, and as a
consequence, the ghetto became a depressing, open, wide terrain. There was a sense of uncharted territory ripe
for the taking.
Frank
Lucas (Denzel Washington), former right hand man of Bumpy Johnson looks to seek
control of the Harlem is in Manhattan after his mentor passed. Director Ridley
Scott sets an eerie tone for the streets of New York. Normally one would think
of it as a glamor city, but he used a lot of angle shots that represented the
streets in a fashion that resembles a chaotic openness. There seems to be a veil of space surrounding
everything in the marginalized section of Harlem. No real sense of togetherness,
thus the heartless brute that is Frank Lucas goes unchecked. This is seen as Frank Lucas shoots Tango
(Idris Elba) in the open. Russel Crowe’s moral character, Richie Roberts, is a
cop that remains one of the few that actually stay pure to the job. A lot of
the contribution to a desolate environment lies in the fact that Harlem had to
deal with a Law enforcement with was
either racist, unconcerned, or corrupt. Richie’s inclusion in the film gives
the audience a protypical good guy that is on the journey to enlightenment and
redemption. Ridley Scott does a great job of making the audience respect Richies’
bravery as well.
But
let this not deter you from the star of the film that is Denzel Washington
portraying Frank Lucas. No matter what trade he is in, the audience can’t help
but admire the tone and stature that Denzel gives to Frank. Never does he waver
in self-pity for his drug dealing. Instead, he treats his trade like a legitimate
business run by him. The scene, in which
he breaks down Bumpy Johnson’s career to one of servitude, is a scene that is
meant to inspire the business like mind. He says, “Nobody owns me.” This type
of entrepreneurial spirit is what embodies America, and hence, the term “American
Gangster.” Frank ( Denzel Washington) makes sure to keep loyalty amongst his
family by giving them an opportunity. However, he still puts nothing above the
universal code of ethics. In this respect, I’d regard his performance as
naturalistic due to the relate-ability that it presents.
The
plot won’t move anybody as the film as very close nuances with that of a biopic.
In the end, the audience will walk away with the sense of having learned
something concrete about Harlem during that time. It’s a cultural awakening just
as much as a film observation. This is one of the many elements of the mob film
genre. There will be more elements to discuss.
4
out of 5 Stars
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