Washington Vs. Crowe: Round Two
This has been the rematch I’ve been waiting for since 1995 when a little-known film came out called Virtuosity. It starred Denzell Washington as a cop-turned-convict who is used to track down a serial killer computer program who literally grew legs. That program, joyfully called Sid 6.7 was played by the wildly over-the-top Russell Crowe. That movie was one of my favorites when I was a teenager, primarily because it was just so insane and silly and Crowe, whom I had never heard before, seemed to be having so much fun that I kept waiting to hear about any other film that he starred in. So when I heard that Washington and Crowe, both of now are at the height of their respected careers, were going to match wits ala Heat, I could hardly contain my joy. And while American Gangster isn’t anywhere as crazy as Virtuosity, this is a much better film.
American Gangster is Frank Lucas (Washington), a second-in-command under “Bumpy” Johnson during the 60s in Harlem where he learns the tools for the trade by the master himself. Johnson, whose heydays were in the 30s and 40s (which are chronicled in Bill Duke’s underrated Hoodlum), seems to be out of touch with this new world where giving to the community means little and making money means everything. He literally dies of a broken heart (not historically accurate, but I’ll give it a pass) with Lucas by his side. Frank, a very quiet man, does what every pupil should do and takes what he learned from Johnson and tweaks it. He finds a direct buyer in Vietnam (while America was in the midst of the conflict) and finds a way to get heroin back to the US in a way that would infuriate Fox News (not that they need much prodding to be infuriated).
At the same time we are following Detective Richie Roberts is in the midst of crooked cops from both sides of the river. His own partner (John Ortiz) is a dope fiend who isn’t underneath stealing from dealers. One day they find a million dollars in a car and Roberts turns it in, something that seems to be heard of in his department before. He becomes the mirror that reflects the corruption at his department, and they blacklist him. But it also puts him in the position to lead a new narcotics unit meant to take down the big cases.
From what I just wrote, you might think you know what kinds of people Lucas and Roberts are, but the film is much more intelligent than that. While no doubt Lucas is a gangster, he’s also very loyal to his family and his community, overpays his employees, and sees what he does as just another business as any other (which reminds me of a Chris Rock joke about how black people can only make their fortunes as long as no one gets hurt). The Roberts character is a terrible husband and father, a womanizer, and quite possibly an egotistical blowhard who thinks being an honest cop automatically makes him a good human being. And yet we care about these guys even though the film boldly doesn’t shy away from their faults. One of the things I loved the most is that every once in a while, we’ll see junkies on the street, an overdose, and the pain that comes with drug addiction just to remind the audience what Lucas is selling.
The film follows the investigation to the point that Lucas is taken down, but the focus is more on the people involved in the takedown, and not just on the two heavies. We have a great ensemble of actors in small roles that give them life. Take Ruby Dee who plays Lucas’ mother. At the end of the film, she gives a ten second monologue that hits to the heart of the matter. Look at Josh Brolin who plays a corrupt New York cop whom is arguably worse than Lucas, this character could teach the guys from The Shield a few new things. Even rappers such as T.I. and Rza bring an authentic look and feel for their characters (especially Rza who has a great scene during the final takedown). And how can I forget one of my all-time favorite actors Joe Morton in what could be a throwaway character that is Lucas’s old confidante back in the days of Bumpy.
But the film is primarily focused on Washington and Crowe, and they couldn’t have cast this film better with their two leads. These two men don’t even share a scene together until we get to the end of the film, where it decides its fate not in a shootout but in a series of conversations. That’s what these two men really are all about, getting results without being flashy. Take the opening shot where Lucas shoots a man Johnson had ordered to be set aflame. Johnson wanted to send a message; Lucas only wanted to get the job done. What he built in Harlem could be considered inspirational if his product was anything other than heroin. And yet he didn’t build his empire to be seen as powerful, to have the mob bow to him (which they did), or even to satisfy his own ego. He made his empire to have something that he could call his own. I don’t think Roberts was an honest cop just for the sake of being one. I think he did so because that would make him good for at least one thing. And this is what you get from these two powerhouse actors who don’t have to pull a gun every five seconds to be in the tradition of badass that goes all the way back to Bogart and Cagney.
Ridley Scott hasn’t made the quintessential gangster movie, but he has made one that will have you following every footstep of every character with interest and curiosity. His technique is as epic as the films he directs. And yet he doesn’t let the scale get to his head. He gets the feel of the age without having to use many pop culture references. He puts his faith in his actors and his crew to create the environment of the time. Needless to say, he’s made up for the drab A Good Year.
All in all, this is a great story and a great film that will keep you involved to the very end. And maybe in another twelve years, Misters Washington and Crowe will find themselves once more clashing swords, perhaps in a sequel to Master and Commander or perhaps a Spike Lee film? You know that all great things come in threes.