moviereview - American Gangster

AMERICAN GANGSTER

	Frank Lucas connects Harlem with Asia to become New York's biggest drug baron. Richie Roberts steps in to stop him.	score 3+	moviereview rates films from 1 (unwatchable) to 5 (unmissable)
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Cast
Russell Crowe, Denzel Washington, Chiwetel Ejiofor, Josh Brolin, RZA

Director
Ridley Scott

Screenwriter
Steven Zaillain

Country
USA

Rating / Running Time
MA / 157 minutes

Australian Release
Januray 2008

Official Site

In most regards, Martin Scorcese wrote the handbook on modern American gangsters with films like Goodfellas and Casino. Working in his shadow was writer/director Steven Zaillian (Gangs of New York) who, having re-teamed with Ridley Scott (Hannibal), brings to life a small story of Harlem’s mean streets. Anchored by Russell Crowe and Denzel Washington, here’s a pedigree production on a sure march to the trophy cupboard. Zaillian has crafted a persuasive narrative that recalls the best of Scorcese while investing it with a layer of familiarity. Scott fuses his trademark polish with the story’s gritty truth and the results are never less than attention grabbing.

In the early 1970’s Frank Lucas (Washington) sets himself up as Harlem’s number one drug baron. He builds an empire that runs from war-torn Asia to the projects of America. It succeeds because Lucas is a man of principle who, among other things, knows how to keep his head down. On the other side of town, Detective Richie Roberts (Crowe) is another man of principle. His job is to find out who is running this third force, and stem the flow of heroin into New York. Thus begins a dangerous game of cat and mouse.

American Gangster is a highly enjoyable film that mixes genres and milieus with great effect. Scott evokes many of the era’s finest films such as The French Connection without indulging in mere homage. He contains Crowe and Washington who return towering performances. While violent, he keeps us protected from Scorcese’s slaughterhouse, preferring to flirt with big themes like the institution of family and how peas like Lucas and Roberts grow so differently. It is the stuff of modern classics, and much of the time, this almost is. Unfortunately, Scott ultimately gives in to stunts and chases, dropping threads like Robert’s family life and adding a peculiar coda that echoes Catch Me If You Can. It’s a puzzling affair that finally tips the balance, rendering merely good the great work that went before.

// COLIN FRASER