There are two sides to the American dream.
Following the death of his employer and mentor, Bumpy Johnson, Frank Lucas establishes himself as the number one importer of heroin in the Harlem district of Manhattan. He does so by buying heroin directly from the source in South East Asia and he comes up with a unique way of importing the drugs into the United States. As a result, his product is superior to what is currently available on the street and his prices are lower. His alliance with the New York Mafia ensures his position. It is also the story of a dedicated and honest policeman, Richie Roberts, who heads up a joint narcotics task force with the Federal government. Based on a true story.
Genre(s): Crime, Drama
Runtime: 157 minutes
Rating: 8.0/10 (100,852 votes)
Release Date: 19 October 2007
Country: USA
Languages: English
Company: Universal Pictures
Sound: SDDS, DTS, Dolby Digital
MPAA: Rated R for violence, pervasive drug content and language, nudity and sexuality.
Director(s): Ridley Scott
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Producer(s):
Sarah Bowen - co-producer
Michael Costigan - executive producer
Jonathan Filley - co-producer
Brian Grazer - producer
Branko Lustig - executive producer
Nicholas Pileggi - executive producer
Ridley Scott - producer
James Whitaker - executive producer (as Jim Whitaker)
Steven Zaillian - executive producer
Writer(s):
Steven Zaillian - (written by)
Mark Jacobson - (article "The Return of Superfly")
Cast:
Denzel Washington - Frank Lucas
Russell Crowe - Richie Roberts
Chiwetel Ejiofor - Huey Lucas
Josh Brolin - Detective Trupo
Lymari Nadal - Eva
Ted Levine - Lou Toback
Roger Guenveur Smith - Nate
John Hawkes - Freddie Spearman
RZA - Moses Jones
Yul Vazquez - Alfonso Abruzzo
Music: Marc Streitenfeld
Sarah Bowen - co-producer
Michael Costigan - executive producer
Jonathan Filley - co-producer
Brian Grazer - producer
Branko Lustig - executive producer
Nicholas Pileggi - executive producer
Ridley Scott - producer
James Whitaker - executive producer (as Jim Whitaker)
Steven Zaillian - executive producer
Writer(s):
Steven Zaillian - (written by)
Mark Jacobson - (article "The Return of Superfly")
Cast:
Denzel Washington - Frank Lucas
Russell Crowe - Richie Roberts
Chiwetel Ejiofor - Huey Lucas
Josh Brolin - Detective Trupo
Lymari Nadal - Eva
Ted Levine - Lou Toback
Roger Guenveur Smith - Nate
John Hawkes - Freddie Spearman
RZA - Moses Jones
Yul Vazquez - Alfonso Abruzzo
Music: Marc Streitenfeld
Posted on: November 1, 2007
January 5th, 2009
There's a major problem doing a movie set in the 1970s, which was aperiod of major cultural transition. Many of the fashions of that daynever went away; others were actually revivals from the 1950s. Stillothers came and went and then were later revived. I remark this becausesome reviews complain of the period detail in this film. But I havenever seen a single film set in the 1970s anywhere true to that decade,which was the most memorably important of my life. So until someone canshow me such a film, I just don't bother quibbling over the detail workset in that era.
That said history, both real and cinematic are important here. The filmopens remarking two events, each of which received attention in majorfilms: from the mid-1930s, the Harlem underworld was dominated by BumpyJohnson, who claimed to have retired in the late '40s, but this was nottrue, and remained mob boss above 125th Street until his death in themid-'60s. His early career was depicted in the recent film "Hoodlum,"but he also appeared as a character (as 'Bumpy Jones') in the original"Shaft." Just about the same time, in the mid-'60s, a large quantity ofheroin smuggled in from France was confiscated by an earnest NYCDetective, Eddie 'Popeye' Egan, which unfortunately did not lead to themass convictions of narcotics-connected mobsters probably due to mobinfluence on the courts. This event was narrated in the film "TheFrench Connection." The confiscated heroin itself disappeared thanks tocorruption in the NYPD itself.
Since Harlem was the big marketplace for illegal narcotics, it could beexpected that these two stories would eventually intertwine; and thatthey did is documented in both texts of criminal investigators andreporters, as well as a number of fictional films from the 1970s; butthis is the first film to tie the loose ends together. The sustainingelement in both stories was the corruption in the police, the courts,and the government of New York, a problem that has never beencompletely resolved.
American Gangster has to be judged as a recorded episode in thishistory, and it can be fairly compared with the movies previouslymentioned. To be frank, it lacks the grand scope of "Hoodlum" and theenergetic realism of "The French Connection," but is on a par with someof the better films dealing with other aspects of this history – whichit appears to reflect honestly, having both central players on board asconsultants. It's not one of Ridley Scott's best movies, but it is afascinating dual portrait of a shrewd hood running out of time and thehonest cop hunting him down. Neither Washington nor Crowe are at theirbest here – I feel they needed more prep-time for their characters -but the turn in solid performances, as do the rest of the cast-members.And the work behind the camera is also solidly professional, as we'vecome to expect from director Scott's crews. But I admit I expectedsomething a little more, since the core story and its history are soprofoundly interesting, raising unsettling questions about Americansociety and its particular economic culture. ( I can't remember in whatmovie a character explains that heroin is the perfect commodity, sinceits addicted consumers will spend any amount of money for it and getpretty much nothing in return.) So American Gangster is not the finalstatement on the continuing problem of the culture of narcotics or thatof police corruption; but it is an interesting and entertaininggangster film, and a fairly reliable document of the events itportrays.
January 19th, 2009
For those who are looking for a equally compelling gangster movie like"Goodfellas" or "Donnie Brasco", well keep looking, because "AmericanGangster" simply doesn't fit the bill. It's like buying a new car, thatlooks great on the outside and everything looks like it's in tact. Thenwhen you start, the motor, smoke comes pouring out, the tires becomeflat, and eventually, the engine dies out. That's how I felt about thismovie. The critics hyped about how wonderful this movie is, only to endup with a bag full of nothing.
My dismay is in so many locations, I don't know where to start. Rightoff the band wagon, it was a bad idea from the beginning to let RidleyScott take the director's seat for this project. His storytellingabilities truly leaves much for him to be desired. A story of this highlevel should have been handled more carefully,pulling away no stops,with a superb cast of talented performers, this movie had potential toup there with "The Godfather" and "Goodfellas".
Within the parameters of "American Gangster",there are several hooksand angles in the real story, the creative team sorely neglected. Forexample, Frank Thomas (Denzel Washington) was completely illiteratethat even counting seemed foreign to him. Pretty good for a man who hasa fortune of over $250 billion. And his way of counting was by scales.So let me ask you, why did Lucas sport a calculator?
The relationship between Lucas and his accomplice Bumpy Johnson goes onwithout any reference. Johnson was one of Harlem's most infamous andwell-known residents. Lucas shared an alliance with Johnson for a spanof almost 15 years as a loyal and dedicated friend. Johnson was like asecond father to Lucas. Other stuff that was ignored includes Lucas'upbringing or how he hired a hit-man to take one of his brother's out.Other side stories that were neglected include his young cousin killedby the KKK or his transition from a petty thug, to a powerfuldrug-lord. Or even the era when there was time when Harlem was a cityyou were proud to call home, only to see it crumble under his wing withfear and terror.It was during the 1960's and 1970's that the city ofHarlem took a turn for the worst which had potential to be a compellingstory. But thanks to the carelessness of the crew, we never get to seethe whole picture.
These stories plus others should have been there and I hold blame toproducer Brain Glazer for not including these stories that Iaforementioned. It left me lost in the dark without a clue. It'sobvious that no research was done before the filming commenced. I wasalso appalled that such a talented performer like Cuba Gooding Jr. asthe infamous drug lord Nicky Barnes be demoted to just a semi-cameoperformance. But he's not the only one who's been let down here. Thecast had a strong talent pool and yet they ended up playing mostlywatered down performances. No blame to the actors, but to the crewbehind this madness. I think the handling of this movie would have beenbetter if Martin Scorsese or Spike Lee took over the directors seat.Then I would have seen potential.
Overall this film was far too patted to be a riveting film. The motivesbehind the crew was that the movie was destined to keep you entertainedrather than tracing the story based on fact. The key to great film issitting at the dinner table with friends and family discussing it withthose surrounding you. After this movie was over, my friends and I hadnothing to say, because this movie offers just that, absolutelynothing.