American Gangster

The success of THE DEPARTED last year likely signaled a resurgence in the popularity of crime thrillers, and its triumph at the Oscars seemed destined to make these films more important than ever. AMERICAN GANGSTER is one of these films; finally arriving on screens after years of developmental hell, it reunites director Ridley Scott with Russell Crowe and once again brings Denzel Washington to the wrong side of the law. With the film, Scott has successfully distanced himself from the critical and financial disappointments A GOOD YEAR and KINGDOM OF HEAVEN, though the film’s bloated excess and self-import hinder it and keep it from being all it could have been.

AMERICAN GANGSTER tells the true story (as it is noted in the opening credits) of Frank Lucas (Washington), the protégé of a New York criminal who rises to the top of the city’s illegal drug ring, defying all previously-existed expectations and becoming more powerful than the Italian mob families. Simultaneously told is the story of Riche Roberts (Crowe), the do-good cop who heads the branch placed in charge of big-time drug raids. These two intersecting stories paint a vivid picture, not only of life in New York City during the Vietnam War, but what exactly makes a decent man and what makes a criminal.

These more psychological studies are concentrated mostly on Lucas. He is, by all outward appearances, a decent man; he takes care of his family, has a loving wife and has worked his way to the top by himself. The only thing that’s keeping him from being a hero is the fact that he smuggles drugs for a living. It also helps that Lucas is played by Washington, one of Hollywood’s most likable stars. The film takes many moments to showcase Lucas’s alteration between family man and ruthless criminal, and Washington certainly delivers in these moments. It’s all a bit ho-hum (the shock of him as a villain seems to have worn off), but solid work nonetheless. Much more compelling, though sadly misused, is Crowe. Roberts is given basically nothing to do for the first half of the film, but Crowe remains a strong presence throughout. Not much time is taken to explore the darker side of his character; he has family problems, but they are dealt with so briefly that they barely register.

The film plods along for the first hour, offering nothing overtly compelling. The film is an entire build-up to the end; the last half-hour of the film is superbly constructed and ranks with the best crime thrillers, but the journey there seems unending and drags until it gradually picks up its feet. And aside from Crowe and Washington, a cast filled with recognizable faces is rarely given the opportunity to shine. An exception to this is Ruby Dee, outstanding and restrained in an unfortunately limited role as Washington’s mother. Most other characters are pushed aside in favor of studying Lucas and Roberts’ personalities and motivations. This sadly leads to prolonged scenes of the two sitting and talking to various partners, which does nothing to help the film’s sluggish pace early on.

As always, Scott constructs the entire piece with precision and mastery. In the action sequences, he seems to rise to another level; the film’s finale is stunningly tense, no matter how clear its outcome may be. Yet there are so few action sequences spread out in its 2.5-hour running time, and though Scott is able and adept at directing straight dramatic scenes, that certain flair he displays is sorely missed. Most of these problems are thanks to Steven Zaillian’s script, which is so serious and far-reaching in its scope that it cannot help but become bloated. A half hour could easily be excised from the film with no major damage.

AMERICAN GANGSTER poses itself to be the next great crime thriller, but by doing that, it believes in its own importance far too much and therefore falls short. There are many moments of greatness contained in it, but too much exposition must be waded through to get to them. Still, a memorable effort from Ridley Scott and compelling performances from Washington, Crowe and Ruby Dee make this film one of the year’s must-sees.

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