Miller's Crossing
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Movie Reviews of Miller's Crossing
Movie Review: Finally out on DVD!!!
Summary: 5 Stars
Is there honor among thieves? So goes the central question of an early film from the Coen brothers. When they made it, the Coen's were still running out of the public eye - their quirky masterpieces, "Raising Arizona" and "Fargo" had not yet brought them fame. And because of that, "Miller's Crossing", a film about mob conflicts between the Irish gangs and the Italians in an unnamed Midwestern city (it is Chicago, isn't it???? Or is it?) did not reap its fame in theaters, but became a cult favorite on VHS. The release of the DVD in May of 2003 raised even more interest in the film.
In the Coen's world of gangsters, you don't just wait for the next killing, you've got to stay on your toes and figure out the next double-cross, and the next, and the next. Betrayal, revenge, and following orders - those are the central themes that result in loss of life in this period piece. The Coen's show early mastery of cinematography, score and sound. The camera angles, the transition between scenes, the focus on the details in the forest, and in every scene that takes place in Tom's apartment...they're all intricate and award-winning.
But, the film is ultimately character driven. The Coen's cast a couple of actors they weren't that familiar with (Gabriel Byrne as Tom Reagan and Albert Finney, so Irish he's green as Leo, the mob boss) and surrounded them with their usual cronies: Jon Polito as a rival of Leo's, Italian Johnny Caspar; John Turturro in fine form as Bernie Bernbaum; bit parts for Steve Buscemi, Michael Jeter, and J.E. Freedman as Caspar's henchman, "the Dane". They took a chance on unknown actress Marcia Gay Harden to play the sexy, conniving Verna; and it paid off, as she played brilliantly, foreshadowing her skills and the Oscar she received for "Pollock", and her nomination for "Mystic River" this year.
Synopsis of the plot:
Tom Reagan (Byrne) is the number one lieutenant of the Irish crime family, and the person the crimelord, Leo (Finney), trusts the most. He's steely-eyed, cynical, and accustomed to Leo tuning in to Tom's will. Throughout the film Tom seems to be getting in deeper and deeper in gambling losses, which he stubbornly refuses to let Leo pay. Less well known is the fact that he's carrying on with sultry Verna, who Leo's fallen in love with. Tom wants to throw Verna's brother, a double crosser named Bernie Bernbaum who "makes book" and likes boys more than girls...to the wolves, in the form of minor Italian underboss Johnny Caspar. Leo refuses.
The seeds of dissension are sown, and before the film ends, Tom has been everyone's whipping boy, based on his innate ability for the double cross. The final scenario leaves your head spinning, but in true Coen form, the central question - is there honor among thieves? - has been answered. And like the big, big movies of the 40's and 50's, the Coen's leave the best for the last; you will savor the last big scene.
I thought Gabriel Byrne was wonderful in the lead role.
At the time he shot this, he'd had bit parts in television and movies for over ten years. "Miller's Crossing", his first lead, proved his vehicle to move his career up, and helped him cross over into film producing. He has the memorable lines:
"If you want me to keep my mouth shut, it's gonna cost you some dough. I figure a thousand bucks is reasonable, so I want two."
And to Verna, who's a Jewess:
"If I'd known we were gonna cast our feelings into words, I'd have memorized the Song of Solomon."
Chemistry between Harden and Byrne is a bit puzzling, but it is definitely living and breathing onscreen.
There isn't a poor performance in "Miller's Crossing", but special mention should go to character actor John Turturro, who has the benefit of the role that would normally go to Steve Buscemi, (and Buscemi has little more than a walk on). True to form, Turturro and Buscemi can each play the mealy-mouthed, snide little characters that annoy everyone....really a mark of how brilliant each of them is! Laughingly, Turturro based his painful, whiny character on his observations of director Barry Sonnenfeld's demeanor on the set!
And in a truly Coen-like twist, Albert Finney also shows his versatility by appearing, as a gag, in drag, in the background of the ladies' room, a scene in which Tom confronts Verna about her brother.
There are just not enough accolades to give the quality of this film, and the transfer to DVD is inspiring, although special features are limited to discussions with director and actors. Since they're all such fascinating individuals, this may have proved wisest - it takes nothing away from the film.
Worth a spot in your DVD collection, "Miller's Crossing" is not "The Godfather" - but almost.
Movie Review: My favorite movie.
Summary: 5 Stars
It's odd that this is my favorite movie, since I've seen several other films from the Coen Brothers, including "Fargo" and "O Brother Where Art Thou", and I just haven't cared for them. They tend to make very quirky films, and "Miller's Crossing" certainly has some of that (just get a load of Steve Buscemi's character in this movie and you'll see what I mean), but it doesn't seem to descend into silliness the way some elements of other Coen films do.
Another reviewer described "Miller's Crossing" as "the thinking man's mob movie", and I couldn't sum it up any better than that. The first thing that will strike you when you see it is the beauty of the film. The locations, costumes, props, etc. all evoke the prohibition era better than I've ever seen any other film do. (Visually, "Road to Perdition" does this pretty well too, though otherwise it's not nearly in the same class with "Miller's Crossing".) It draws you into the period and makes makes you want to live there. Also helping this is the use of 1920s or 30s slang. The dialog in this film is great, and contributes immensely to the illusion that are watching something that actually took place in the early 20th century.
The casting is also absolutely brilliant. It's one of the few films I can think of where you just can't imagine other actors playing any of the roles. Gabriel Byrne is perfect as the laconic Tom Regan. Albert Finney exudes charisma as charming, roguish Irish gang boss. J.E. Freeman is menacing as the Italian boss' right hand man. Marcia Gay Harden is utterly believable as the tough, rather unscrupulous gangster's moll, and John Turturro plays her scheming brother with just the right combination of charming affability and swinish selfishness and ingratitude.
But the real star of the movie is the plot. It's just complex enough to require your complete attention in order to stay abreast of all its twists and turns, but it's not so complicated that you can't follow it. There is action and violence, but what really drives the story are the schemes and machinations of the characters, especially Tom Regan. Regan appears to be battered by fortune all through the movie, and lloks like he's in over his head. But when you reach the end of the film, you discover that he has been playing everyone like violins. You can see several times in the movie when fate throws him a curve, and he is surprised by something that wasn't in his calculations, but each time he recovers beautifully, changes his plans accordingly, and turns the new development to his advantage. He's a character who would have prospered at the court of the Borgias, but you can also see that his ruthlessness, and his capacity to carry off the coldest, most machiavellian intrigues are not qualities he himself admires, and indeed he obviously doesn't like himself very much. This coldheartedness, along with his lack of warmth and charm, might make him look pretty rotten, save for one realy admirable quality which I can't really name without spoiling the ending for those who haven't seen the film. Once you do see it though, you'll know what I mean.
Perhaps it was the fact that this movie is not really fast paced that caused it to fade a bit at the box office, especially as it faced competition from "Goodfellas", which is both faster paced and more intense. But if you want a gangster movie that evokes nostalgia for THE "gangster era" in America, sterling performances from truly first rate actors, and a plot that really stimulates your intellect, you owe it to yourself to check this movie out.
Movie Review: Who ever thought a steady calm would chill your bones...
Summary: 5 Stars
Often hailed as the Coen brothers finest film; `Millers Crossing' is a brilliant gangster film that exceeds the film the Academy decided to embrace this given year (yes, I'm talking to you `GoodFellas'). `Millers Crossing' is quiet when it needs to be, shocking when necessary, and always effortlessly chilling.
The film tells the story of Irish gangster Tom Reagan, lieutenant to crime boss Liam O'Bannon. O'Bannon's power is challenged by rival crime boss Johnny Caspar, and soon things start to shift within the O'Bannon clan. When it is revealed that Reagan is having an affair with O'Bannon's lover Verna his is cast out of the family and soon finds himself negotiating with Caspar. Tom has some outstanding gambling debts that threaten his life, and Verna's brother Bernie has been making trouble for Caspar, so they make a deal.
If Tom helps Caspar with his problem, Caspar will help Tom with his.
The film is a solid gangster film that embellishes all the great things about this particular genre. It is violent, extremely at times, but it is also very sullen. The film possesses this unsettling calm, this effortless ease that permeates each scene and gives off this purified feeling of dread. This is especially noticeable in the forest scenes that just reek of fantastic, caressing the audience with its faux sense of serenity.
We can all get down on our knees and praise cinematographer Barry Sonnenfeld for this.
The same calm accomplished by the direction is also evident in the marvelous acting on all fronts. The film is carried on the shoulders of Gabriel Byrne, who marvelously captures the repressed hostility within Tom's actions. As great as Byrne is, the supporting cast is so much better. Miss Harden is flawless, delivering a distilled sensuality that just envelopes her character and everyone around her. Jon Polito is effectively repulsive as Caspar, and J.E. Freeman is chillingly horrific as Eddie Dane, Reagan's biggest opponent. Albert Finney is marvelous as Liam O'Bannon, capturing the paternal instincts as well as the killer ones. He reminds me somewhat of Tony Soprano, likable yet deadly, but in a vastly different way.
The films biggest stand out would have to be John Turturro though, such a brilliantly layered performance. He goes from sadistic to emotionally crippled with effortless ease, and his whole breakdown in the woods, where he begs for his life, is the film single greatest moment. What makes that moment so fantastic is the mirrored moment that comes towards the end, where Bernie tries his hand at the same plea...
"Look into your heart."
...but you can tell, as he can, that this time it won't work. You can see on his face that he knows that you know that everyone else knows that we can see right through this façade.
"What heart?"
`Millers Crossing' is a marvelously crafted epic that will leave your blood chilled and your heart cold, and that is beautiful when considering the genre. There are countless efforts made in this regard, to create a gangster film that get everything right, but rarely does it happen with such effortless grace. The Coen's have a huge following, and they have won awards for films such as `Fargo' and the recent `No Country for Old Men'; but to me, `Millers Crossing' is probably their finest hour. It saddens me that this film was entirely ignored by Oscar.
Movie Review: Coen Brothers' best film
Summary: 5 Stars
Miller's Crossing" is set during the Prohibition-era of the 1930's. Leo ( Albert Finney)in an Irish gangster that has control over of an Eastern city, with the help of his trusted advisor and lieutenant Tom ( Gabriel Byrne). The rival gang is lead by Caspar ( Jon Polito). He wants a bookie named Bernie Bernbaum (John Turturo) dead, because he feels that Bernie has been cheating him. However, Bernie is the brother of Leo's mistress Verna (Marcia Gay Harden), and Leo refuses to kill him. So Caspar and his ruthless henchman Eddie Dane ( J.E. Freeman)fight for control of the town. Just as the threat erupts, Tom reveals that he wants Verna as well, and him and Leo have a falling out. Tom is suddenly stuck in between the two mobs when Caspar tries to recruit him. Out of loyalty to Leo, Tom tries his best to keep the peace. Unfortunately, he finds himself in the middle of war of constant ambushes and double crosses, where allegiances are constantly shifting, and nothing is ever what it seems. "Miller's Crossing" is without a doubt the Coen Brothers' best film, and one of the best gangster films that I have ever seen overall. The Coen Brothers manage to not only create a stunning, and graphic vision of gangsterism, but also a plot with tons of twists and turns as well. Just when you think you have it narrowed down to where Tom's loyalties lie, the story takes you someplace completely different. This makes the film original, because most mob films ONLY focus on power struggle and violence. While this film does have plenty of both, it also has elements of a great con artist film as well. This manages to keep you on the edge of your seat, and caught up in the story. The ending is absolutely outstanding. It is extremely satisfying and provides for an overall enjoyable experience.
However, I am not taking away from the gangster aspect of the film. The costume and set designs, along with the mafia nicknames, dialogue, and overall power struggle, perfectly re-creates the look and feel of the Prohibition-era and the underworld warfare that occured. Next were the performances from the actors. Albert Finney, Gabriel Byrne, Marcia Gay Harden, Jon Polito, and J.E. Freeman were all phenomenal in their roles. Each bring something important to the film, and are all unique in their personalities as well. One of the best all around performances from a cast I have ever seen. The musical score is absolutely beautiful. One of the most powerful and moving scores that I have ever heard. Lastly, Barry Sonnefield once again provides for stunning cinematography!
The Coen Brothers combined gangsterism with a twisting plot, and used a wonderful cast to bring the story to life. The cinematography, musical score, and stunning authenticity are all breathtaking. "Miller's Crossing" is a masterpiece that you will want to watch again and again. The good news is now the film is finally out on DVD. Not only do you get to see the film, but also the extras as well. There are interviews shown with all the main actors in the film, as well as a conversation with Barry Sonnefield. Pick this one up!!
Movie Review: Flawless in Every Dimension
Summary: 5 Stars
Ok, it has been 21 years since I first screened Miller's Crossing, and one of the ways that I judge films(or music or literature, for that matter) is how they stand up to the test of time. It's as good today as it was 21 years ago: it is a flawless gem of a film. When I first saw it, it was obvious that they had borrowed, or alluded to, a great deal of the plot framework of Dashiell Hammett's great novel the Glass Key. At first, this sort of bugged me. But then, after looking at the differences between the two stories, it gradually became apparent to me that they had identified certain weaknesses (at least in terms of cinematic representation of the work) and set about to refashion the lump of clay to eliminate them. The end result still gets into the insider's sophisticated amoral view of politics and organized crime during Prohibition--which was the great strength of The Glass Key--while telling a more complex and believable storyline between the characters. This is a sophisticated proposition. In both the film and the book, the man who stands behind the great chair(Mr Inside-Outski) and whispers in the ear of the Great Man is a gambler having a string of bad luck, who usually knows how to play all the angles. There is a woman whom the gambler thinks is dangerous for the Great Man--and the Great Man will not listen. There is a rival with psycho overtones--who orders the beating of said gambler. There is a falling out between the gambler and the Political Boss, and a great trap that is laid by the gambler without the Bosses knowledge or comprehension, to deal with all these complications once and for all. Beyond those comparisons, Miller's Crossing serves up some scenes that are so memorable, so poetic, that they are simply breathtaking. A small boy stands staring at a corpse in an alley. After a long pause, he grabs the toupee off the corpse and runs away. Later, the Political Boss says: "They took his hair, Tommy. Jesus that's strange. Why would they do that?" Then, there is the Political Boss, teeth clamped to a cigar, standing in his slippers in the dark, firing a steady stream of light from a Tommy Gun at a fleeing car to the strains of Danny Boy playing on an old Victrola. There is a young John Turturro, being led through the woods to his own execution, begging and pleading for his life. "Look in your heart, Tommy! Look in your heart!. We're not like those animals back there! We don't bump guys!"
It's a film that tells a story in a very cinematic way, driving the viewer forward relentlessly, and the complexities build towards a surprising and inexorable conclusion. In short, it uses the full power of film to take the user through a labyrinth of red herrings, false starts, subterfuges, illusions and complications before the truth is laid bare like a fillet of sole."I never say I told you so, and I don't like people who do." This is a great, great film. Just remember, I told you so.