"Loyalty is involved, and so pity ceases to function."
-George Orwell, Notes on Nationalism
When the End of the Decade best movie lists were compiled recently, one of my personal favorites was mostly absent. Gangs of New York, Martin Scorcese's 2002 epic of operatic bloodshed and political corruption, got little love (with some notable exceptions) from the critics in their final wrap-ups, and failed to realize its grand ambitions at the box office when it was released.
It was further harmed by a lame DVD release that inexplicably split the film over two discs. That's a shame because, as well as being a damn good movie, this remains one of the most visceral tales of power and politics I've ever seen on the big screen.
The stunningly brutal opening scene has come to my mind more than once in the past few months, whenever people complain about the venality of politics or yearn for a more civilized time. Take note: these were the days of our forefathersThat's politics or, rather, a handy metaphor for what lies at its heart. Whatever myths we paste over it, this is how a social species decides power. It's not pretty.
Transfer the over-the-top bloodletting and grudges above to legislative chambers, hide them in prettier words and you have politics. Even non-violent movements often succeed because they turn out such numbers, and create such disruption, that it's made clear their enemies are about to lose the monopoly on force.
That is one thing Gangs of New York never shies away from. As Liam Neeson, in his brief I'm-a-badass-father-figure-who-gets-movingly-killed turn, says: "the blood stays on the blade." That makes it an unusual movie, especially as it deals with the Civil War era, a time Americans of all stripes love to get self-righteous over.
But instead of the usual weighty tomes, Scorcese based his work on Herbert Asbury's classic lurid history of New York's rabble. Here, you don't see Lincoln delivering a solemn speech or swelling music accompanying noble sounding generals into the fray.
Instead, you see rampant poverty, corruption, a clueless upper class and bloodshed. Rather than "a new nation, conceived in Liberty," you see tribes tied to ancient loyalties (and the accompanying prejudice) that seem to transcend any humanity. You see the Draft Riots. Keep telling yourself: this is happening under one of America's greatest Presidents. That'll sober you up.
And at all levels, fear and force rule. The gangs use their blades to carve out territory, the political machines just above them use clubs to drag out voters and finally, the government itself uses guns to turn the streets of New York red when the underclass (who've just committed their own horrors) rises up.
Bill the Butcher (Daniel Day-Lewis in the role of a lifetime) lays it out perfectly.
That's what preserves the order of things — fear
Until the moment it doesn't ("the Earth moves, but we don't feel it"). I would never in a million years call this an optimistic movie, but for all the nasty struggles it depicts, Scorcese is aware that there are other forces at work too.
The miracle of politics is that out of the gulf of struggle, better things can and do emerge, and not always at knifepoint. In Bill the Butcher's rampant hatred of the Irish can be heard a strain of anti-immigrant spite that survives to the present day. But watching, we know that the dirt-poor newcomers will become the business leaders and political powerhouses of the next generation. The point isn't that we tear each other apart; it's that we keep on building anyway.
What makes this movie a primer, and not just a badass film I happen to like, is that it remains one of the most honest cinematic looks at politics I've seen. Exaggerated, as all archetypes are, it thrust into one's face what those who prefer to think about government in the abstract often ignore. At the same time, it's not simply a howl of despair. We can create, we can improve.
But first we have to acknowledge reality. Politics is not a rational debate: it is a brawl and always will be. The blood stays on the blade.
We have to deal with that; not turn up our noses in despair the first time the fight gets difficult. We have to understand the foundation if we're to have a chance of transforming it into something better. Gangs of New York remains a masterful reminder of how much we've changed, and how little.