Gangs of New York Review: Flawed Masterpiece With a Collapsing Ending

Martin Scorsese built Gangs of New York around a war between two men and a city that refuses to let either of them win. The film, set in 1863 New York, follows Bill “The Butcher” Cutting, a nativist leader, and Amsterdam Vallon, whose father Cutting killed in a gang feud. Amsterdam returns from exile as an adult to take back the Five Points district from Cutting. Scorsese directs from a screenplay he wrote with Jay Cocks, based on Herbert Asbury’s 1928 book. The result is a sprawling, violent, often brilliant epic that never quite earns its own ending.

Trailer, via Miramax.

The Butcher and the Son

Liam Neeson plays Cutting as a man who believes his hatred is a religion. He is the leader of the Natives, a gang that fights anyone who is not native-born. His face is a mask of cruelty, and Neeson plays him with a physicality that makes every threat land. Leonardo DiCaprio plays Amsterdam Vallon as a man who wants revenge but is also trying to build a better future. His performance carries the film’s moral weight, even when the script asks him to sit through long stretches of exposition.

Cameron Diaz plays Jenny Everdean, a prostitute who becomes Amsterdam’s wife. She is the film’s emotional center, a character who moves between loyalty to Cutting and love for Amsterdam. Her scenes with DiCaprio are the best moments in the film, though her arc feels less complete than the men’s. Daniel Day-Lewis plays Cutting’s lieutenant, Priest Vallon, Amsterdam’s father. His performance is a career highlight, a portrait of a man who is both a monster and a father.

The Five Points

The Five Points neighborhood is the film’s real star. Scorsese shoots it with a grimy realism that makes the streets feel alive. The tenements, the cobblestone alleys, the sweat and grime — all of it is rendered with a care that shows why this is one of the director’s most visually ambitious films. The production design, costumes, and cinematography by Robert Richardson create a world that feels lived-in and dangerous. It is the closest the film ever comes to greatness.

The Sound of the City

Howard Shore’s score is a mix of period instruments and swelling orchestration. It works best in the quieter moments, where it adds texture without drowning out the dialogue. The sound design is excellent, capturing the chaos of street battles and the roar of the crowd at the theater. The film’s use of period music, particularly in the theater scenes, is a small pleasure that grounds the fantasy in something real.

The Length Problem

Gangs of New York runs over three hours, and the middle section drags. The film spends too much time on gang politics and not enough on the characters’ personal stakes. A subplot about a corrupt Tammany Hall politician named Boss Tweed, played by Brendan Gleeson, is interesting but underdeveloped. The film’s pacing is uneven, and the runtime works against the material it is trying to present.

The Ending That Doesn’t Land

The final act is where the film collapses. The climax, a battle in the streets, is chaotic and exciting, but it feels rushed. The resolution, which ties Amsterdam’s revenge to the Draft Riots, is rushed and under-explained. The film ends on a note of ambiguity that feels more like fatigue than artistry. After three hours of buildup, the payoff feels thin.

The Technical Craft

Scorsese’s direction is assured throughout, even when the material falters. He handles the wide shots with confidence, and the action sequences are well-choreographed. The film’s use of color and light is masterful, especially in the theater scenes where the stage lights cut through the smoke. The performances are uniformly strong, even if some characters feel like types rather than individuals.

A Comparison of the Leads

The table shows the film’s central triangle. Each man plays his role with commitment, but the film’s failure to resolve their conflict satisfactorily leaves the audience wanting more.

“I’m not your father.”

That line, spoken by Priest Vallon to Amsterdam, captures the film’s central tension. It is a moment of truth that the film never fully resolves. The line is delivered with weight, but the scene around it is too busy to let it land.

What Works

The film succeeds when it commits to character and setting. The early scenes, where Amsterdam returns to the Five Points and reconnects with Jenny, are tender and well-paced. The performances hold the audience’s attention even when the plot stalls. The visual style is consistently impressive, and the film’s sense of place is unmatched in period dramas of its era.

What Falls Short

The film fails when it loses focus on the human drama. The middle section is weighed down by political machinations that feel like filler. The ending rushes through the climax and resolution, leaving the audience unsatisfied. The film’s ambition exceeds its execution in several key scenes.

Gangs of New York is a flawed masterpiece. It is a film of incredible craft and undeniable power, marred by a structure that cannot sustain its own length. The performances are outstanding, the setting is unforgettable, and the themes are timeless. But the ending lets the whole project down, leaving the audience with a sense of something unfinished.

Daniel Day-Lewis · Gangs of New York · Leonardo DiCaprio · Martin Scorsese · movie review