American Gangster Review
Posted by Chad Webb on 11.02.2007
Is it a Best Picture contender, or just another mediocre gangster film?
Denzel Washington: Frank Lucas
Russell Crowe: Richie Roberts
Chiwetel Ejiofor: Huey Lucas
Josh Brolin: Detective Trupo
Lymari Nadal: Eva
Ted Levine: Lou Toback
Roger Gueveur Smith: Nate
John Hawkes: Freddie Spearman
Moses Jones: Rza
Carla Gugino: Laurie Roberts
Cuba Gooding Jr.: Nicky Barnes
Armand Assante: Dominic Cattano
John Ortiz: Javier Rivera
Directed By: Ridley Scott
Release Date: November 2, 2007
Running Time: 2 hours and 37 minutes
Rated R for violence, pervasive drug content and language, nudity and sexuality.
American Gangster is essentially a mishmash concoction of classic gangster epics, and ageless drug flicks like Scarface or Goodfellas. Because of the two consistently gripping leads in Denzel Washington and Russell Crowe alongside filmmaker Ridley Scott acting as the helmer, this has prompted critics to reference the past parallels with no hesitation, but in a positive light. Count on adept direction, exemplary acting, and a dependable plot while viewing this probable award worthy effort. However, do not have high hopes for originality, as American Gangster focuses heavily on character development, and little on filtering out clichés.
In the early 1970's, Frank Lucas (Denzel Washington) is the driver and bodyguard of the famous “Harlem Godfather” Ellsworth “Bumpy” Johnson. When Bumpy dies in his arms, Frank springs into the boss’ chair, and starts raking in plenty of money by meeting directly with a source of heroine in Bangkok. At the same time, Richie Roberts (Russell Crowe) is smart New Jersey cop, whose life is incredibly unstable. Enduring a failed marriage, a junkie partner, and a squad of officers who want nothing to do with him makes it a tough life, but he accepts a position heading a new Narcotics task force, and immediately strives to unearth the person who has been selling a pure form of heroine called “Blue Magic”. He discovers it is Frank Lucas, a black man, and no one believes his evidence. Frank is difficult to pin down though. His daily routine is normal, and he has only trusted family members as his soldiers. Throw in a crooked Detective Trupo (Josh Brolin) of the Special Investigations Unit, trips to Thailand, the Vietnam War, and naked women cutting dope, and you have combustible elements about to explode. As Richie closes in on Lucas, Frank’s own existence is becoming dangerous for him.
This was one of my most anticipated releases of the fall. I could not wait for another helping of mob interactions, seedy police officers, and underground drug operations. We have seen it before, but hey, Martin Scorsese brought forth a slick and spectacular touch in The Departed, so I had faith in Mr. Ridley Scott to ascend from his short slump of A Good Year, and deliver the booty in this project he has been working on for quite some time. I could compare this to The Godfather, The Untouchables, Serpico, Heat and a whole horde of others, but this flat out copies multiple scenes from one movie in particular, and that is Blow.
Cutting out the middle man, meeting Lucas’ future wife, secret drug transporting, and mounds of cash, to name a few were all featured in Ted Demme’s underrated masterpiece. Many will not notice these because that movie is commonly overlooked, but trust me, watch them back to back, and the results are unmistakable in vibe and mood. But of course, I can predict the complaint feedback now. This is “based on a true story”, so Scott had to insert certain sequences like that. Well, Blow was also “based on a true story”, and like American Gangster, they both bend and twist actuality, take liberties, and alter veracity to fit the cinematic realm, but that doesn’t bother me.
My grumble rests with the fact that American Gangster supplied very little that I have not seen on countless occasions prior to this. This is a genre I love, but I expected a bit more meat on the bone. Scott has assembled the story to convey that Richie and Frank are enemies, but since this doesn't occur until late, the clash lacks spunk. The impression of hostility is weak due to the random recycling of plot threads. The most noteworthy aspect is the script from Steve Zaillian, which is primarily fantastic, multilayered, and profoundly riveting material. His abilities expose the personal lives of the characters, the motives, conditions, and emotions they contain. That is one strength of the long running time, but the drawback is the action, and almost the entire rise to the top Frank Lucas takes. None of the stake outs, investigations, heroine exchanges, or flashy clothing is all that terrific.
The highlights are rather obvious. Denzel Washington, raking in a hefty $40 million in total after the first time this film was cancelled by Universal, is fabulous as the Harlem kingpin Frank Lucas. Washington is sure to receive the Oscar buzz, as his portrayal is a tense, soaring, and mesmerizing portrait of this individual who moved his drugs in coffins via military airplanes and vehicles. Lucas is a charming family man, who will aid relatives, but always express his ruthlessness and impatience for disobedience and lies. In broad daylight, he walks across the street from a diner he was eating at with his brothers, and shoots one poor soul who owes money point blank in the skull. This is where Washington shines. He can shift these attitudes consummately and convincingly.
Equally as brilliant is Russell Crowe, who actually listened to voice recorded tapes of Richie Roberts in order to get every facet of his depiction accurate. This is an understated and forceful contribution from Crowe, who never misses a magnetic beat. Roberts is an honest cop, a man who found a trunk full of unmarked bills of which he could have gotten away with scot-free, and turned them in because it was the proper thing to do. That brave act ticked off a lot of colleagues at the station, and if that wasn't enough, a divorce from his wife (Carla Gugino) could conclude with his child moving to Las Vegas. Crowe’s character is two-dimensional, but his performance adjusts that to be absolutely transfixing. Roberts is a diligent, sincere, and unswerving Narcotics investigator, but as a father and husband, he struggles daily. He will stop at nothing to apprehend Lucas, no matter how big the payoff, or how merciless the threats. Crowe deserves a nomination moreso than anyone else in the picture.
Also worth discussing is Josh Brolin, who is magnificent and cold-blooded as the dirty Detective Trupo. This guy has his hands on all the bad money and could care less about anybody that stands in his way of obtaining more dough. Brolin is absorbing and excellent in one of four 2007 roles that merit attention and respect. His status should be on the rise soon. Other appearances come from Cuba Gooding Jr. as Nicky Barnes in an ostentatious, yet fun part, and Armand Assante who hands in familiar work as Italian mobster Dominic Cattano, an eventual employee of Lucas’. Rap artists Rza and Common can be spotted as well.
American Gangster’s journey from script to screen was a bumpy, bizarre, and tentative one commencing in 2004. It initially starred Washington and Benicio Del Toro, and was to be directed by Antoine Fuqua (Training Day), and written by Terry George (Hotel Rwanda). In an order I am uncertain of, Terry George’s screenplay was declined, Steve Zaillian was hired for a second draft, and George was going to direct instead with Don Cheadle and Joaquin Phoenix in consideration for the leads. Oh, I almost forgot Ray Liotta and John C. Reilly were potential supporting players. So it was terminated due to budgetary issues, and then greenlit again with Scott finally assuming responsibility as Director and Brian Grazer as Producer. Whew.
Another surefire compliment is the visually stunning 70’s set design, which is mind bogglingly real as cinematographer Harris Savides captures a handful of first-class shots. I will not fault Ridley Scott for forgetting to do his research on Roberts and Lucas. The real people were involved in this as consultants for increased truthfulness. Scott’s film is rugged and straightforward with a cautious and restrained approach, but this prevents American Gangster from ever genuinely challenging all the masterful feats it emulates. The cast and crew are intelligent with expressing the sleazy and guarded world of police corruption, but not all that smart in displaying inventiveness.
American Gangster was filmed under the humorous false titles Tru Blue and The Return of Superfly (also the name of a New York magazine article by Marc Jacobson that inspired the film). Neither are appropriate, but then, American Gangster is somewhat strange too, especially when one thinks about it after they have finished watching this. The finale of events are factual, interesting, and intriguing, but also peculiar. Ridley Scott’s stride is extremely plain, and he does not necessarily trip as he steps, but his duplication of better movies left me unfulfilled and disappointed.
The 411: I actually predicted American Gangster to be one of the Best Picture nominees for 2008, but I hope that does not happen. Two solid months of movies are yet to come. It is not a bad film, but not one I will remember either. I would rather watch the other movies this resembles. That being said, I don’t want to be too harsh. Ridley Scott, Denzel Washington, and Russell Crowe did a lot of things right here. I am teetering on the fence with this one, and I'd like to give it a higher rating, but I must be honest.
