Gangs of New York is a perplexing film. Much publicised, and much delayed in its release, it is certainly an epic spectacle. It has lavish sets and costumes, large numbers of extras, and explosions and fights galore. It looks good, and it sounds good. But all these positives are ultimately let down by its lack of heart.

Martin Scorsese has returned to his favourite theme of New York for Gangs, taking his audience back to the turbulent period of the American Civil War. The ‘Draft Riots’ of the 1860s decimated New York, helping to form the metropolis of today, and they form the backdrop to the central story of the film – one of personal vengeance and the lust for power.

Leonardo DiCaprio plays Amsterdam Vallon, the son of ‘Priest’ Vallon (Liam Neeson), murdered by rival gang leader Bill ‘the Butcher’ Cutting (Daniel Day-Lewis). Following sixteen years in a reform institution, Vallon returns to the Five Points, the place of his father’s death, intent on avenging the priest. He is taken under Cutting’s wing, and becomes involved with pickpocket Jenny Everdene (Cameron Diaz), but thinks constantly of the day when he will kill the Butcher.

The film is dominated by Day-Lewis’s dedicated performance as Cutting. He is undoubtedly the villain of the piece, but he succeeds in giving humanity to a ruthless and bloody character. His monologue by Vallon’s bedside is an absorbing quiet moment amongst the violence that fills much of the running time.

Against Day-Lewis, DiCaprio becomes little more than a pretty face. He is good at looking concentrated and intense, but his ‘Irish’ accent is inconsistent and he fails to give Vallon much charisma. Vallon’s scenes with Jenny are tedious interludes, as there is barely any chemistry between DiCaprio and Diaz to explain why the couple progress so swiftly from arguing to kissing.

The supporting cast do a good job, but there are too many of them to give much weight to any character except Jim Broadbent’s conniving politician, ‘Boss’ Tweed. At times, deciphering the politics of the various gangs and factions can be very confusing.

So Scorsese, along with cinematographer Michael Ballhaus, allows the action to take precedence over personality, and offers us sweeping views of the period set and colourful costumes. The opening is certainly attention-grabbing; a violent battle between Cutting’s ‘Natives’ and the Irish ‘Dead Rabbits’. There is lots of period detail, plenty of daft hats, glinting knives and atmospheric music (by Howard Shore, last year’s Oscar winner for The Fellowship of the Ring). But it all fails to do little more than amaze, and the constant violence quickly loses its shock factor.

Gangs of New York is a good film, but some holes in the narrative and the over-reliance on spectacle rather than humanity prevent it from being a great film. See it, but do not expect to really enjoy it.

© Joanne Harris 2003