Daniel Day-Lewis. As an actor whose talent and range have kept him at the pinnacle of his profession for well over a decade, one would think that he had given us his best and that he would fade from the public’s conscious with spot-roles for the rest of his acting career. After all, his last role of note was in 1997’s The Boxer. Day-Lewis’ complex role as the murderous William “Bill the Butcher” Cutting in Martin Scorsese’s Gangs of New York sets a new standard for both Day-Lewis’ work and the future of cinematic foils. Although there is much to tout about this equal-to-the-hype epic, the love-hate depiction of Cutting is reason enough to make a bee-line for theaters on December 20, 2002, the nationwide release date for Gangs of New York.

Loosely based upon actual events of mid-18th century New York City, GONY is set in Manhattan’s Five Points district and depicts a society awash in poverty, racism, murder, gangs, and corruption. At one end of the spectrum are the Irish immigrants, arriving in this country with little more than the clothes on their backs. At the other end, the “Native Americans,” citizens opposed to the assimilation of foreigners and willing to kill for such beliefs. Playing the middle is Boss Tweed (Jim Broadbent) and his gang of Tammany Hall cronies, content in using any means (or people) necessary to ensure their continued tenure at New York City government’s helm.

GONY’s plot centers around the return of Amsterdam Vallon (Leonardo DiCaprio) to the Five Points district. Banished to an orphanage after the killing of his father, Priest Vallon (Liam Neeson), Amsterdam arrives back in NYC with vengeance on his mind. The target; his father’s killer, William “Bill the Butcher” Cutting (Day-Lewis), the former and present-day leader of the Native Americans. Either falling prey to Cutting’s devilish charm or in a display of superb cunning, Amsterdam climbs to a position as the charismatic Cutting’s right-hand man. Additional intrigue is provided in the form of Jenny Everdeane (Cameron Diaz), a highly-skilled thief who steals Amsterdam’s heart while continuing to serve her “benefactor” Cutting.

Visually, GONY is stunning. Oscar nominations await those responsible for both set and costume design. The landscape of 1863 Five Points is both graphically vulgar and hauntingly beautiful. Scorsese (Raging Bull, Taxi Driver) chooses to forego the use of computer generated effects, instead constructing his very own municipality for housing the action. The seeds of this work planted in Scorsese’s mind long ago (first mentioned in the 1970’s), the striking sets and garb (especially the varying looks signifying differing gangs) dares viewers to avert their eyes for even a millisecond.

The story is solid, although sometimes a tad overdone. Teetering on the edge of implausibility, the string of coincidences and conflicts is given much needed support by historical tie-ins to the Draft Riots of 1863 and the Tweed political machinery. I am always a sucker for historical-based films, but this movie exhibits a depth that sets it apart from most of this genre. Although most characters in the film are, at least partially, morally corrupt, we still find ourselves picking sides and empathizing with their plight.

DiCaprio (Titanic, The Beach) overcomes his pretty-boy pigeonholing with a consistent (yet not spectacular) performance as Amsterdam. It may be due more to Scorsese’s directorial skills, but I am still intrigued as to whether Amsterdam rises to Cutting’s side because of hatred or in spite of it. Although Amsterdam eventually does act on the vengeful feelings bubbling below the surface, DiCaprio’s portrayal effects a sense that he, at times, has succumbed to Cutting’s wily allure and has fully given over his allegiance to the Butcher. Diaz (Charlie’s Angels, A Life Less Ordinary) gives a surprisingly believable performance as the sexy pickpocket Jenny, blending into the grimy surroundings of Five Points while retaining her hottie (I can’t believe I used that word) appeal.

This day belongs to Daniel, however. The glass-eyed figure portrayed by Day-Lewis evokes feelings of horror, disgust, and reprehensibility topping even that of Hannibal Lector. What sets Cutting apart, though, is Day-Lewis’ ability to make Cutting LIKEABLE, despite his blatant racism and vile acts upon mankind. Although he is the one to do-in Amsterdam’s father, Cutting reveres the fallen priest as something of a role-model. Only Day-Lewis could make this steely-prosecutor’s heart warm at the sight of a perpetrator celebrating the death of his victim. That being said, the role of Cutting will no doubt result in an Academy Award for Day-Lewis.

But why are you still reading this review? Rush out to the nearest theater and get in line to see it for yourself. While it does provide a bit of holiday escapism (although not a real cheery bit), you will leave thanking your lucky stars that you live in today’s world, and not in the hell that was Five Points circa the 1860s.

Chuck Boring, 2002