Miller's Crossing

Rating:
Summary: The Coen Brothers Finest Hour Finally On DVD
Review: Undoubtedly, MILLERS CROSSING is the finest film to date by Joel and Ethan Coen. This is not your run-of-the mill gangster film. On the contrary, this is the Coen brothes take on the gangster epic. Therefore, in the film is found all the signature trademarks of their work: dark humor, complex characters, clever and thoughtful plot twists, and an all-around, damn good-looking movie. As always, the Coen brothers succeed in creating an amazing atmosphere for their characters to run amouck in.

As is the case with all their films, they assemble a cast of actors that is both unconventional and brilliant. Gabriel Byrne (in what has to be the finest performance of his career) is the unlikely protagonist, Tom- a sort of boozing, sulking gangster who plays all sides and confuses one and all (including the viewer). Marcia Gay Harden is both funny and sultry as the tough moll that pits two friends against one another. Albert Finney, in an excellent performance, plays the other side of the love triangle. John Turturro, Jon Polito and Steve Buscemi provide terrific support.
Special mention must be made to the hauntingly beautiful score by Carter Burwell, which perfectly adds to the dark and eery world that these people inhabit.
I hadn't seen this movie in years until I picked up the DVD this past week. Seeing it again, finally on DVD, was just as moving and effective as I remembered (probably even moreso!). MILLERS CROSSING, finally out on DVD, was well worth the wait!

Rating:
Summary: It don't get much better than this, folks.
Review: Yes, FARGO won lots of awards; and sure, RAISING ARIZONA is funny; but make no mistake: MILLER'S CROSSING is the quintessential Coen brothers film. In point of fact, it's flawless, a jewel you can turn over and around in your hands again and again, seeing a new facet every time, each one striking and smooth and perfect.

Joel Coen and Ethan Coen's script is awash with Prohibition-era jargon both historically grounded and whimsically invented, a symphony of phrases and exchanges that linger and echo long after being heard. It isn't unusual after a viewing to walk around asking friends, "What's the rumpus?", or to complain about being given "the high hat" upon being snubbed. (Good dialogue always has a way of worming its way into common parlance, but only _excellent_ dialogue can do so in defiance of instant recognizability.)

The performances, as well, are individually and collectively irresistable. I defy you, in fact, to find a single film in which _any_ of the major players has ever been better. There's not a false or miscast note in the whole of the dramatis personae. There's Gabriel Byrne as the inscrutable, Machiavellian Tom Regan, a trusted Irish mob advisor who falls out of favor with the boss and defects to the rival Italian camp to save his own skin...or does he? Albert Finney plays Leo, the aforementioned Irish power broker whose fists of iron, vicious survival instinct, and all-too-vulnerable heart congeal into a simply remarkable, unforgettable character. John Turturro is equal parts pathetic outcast and conniving opportunist as Bernie Birnbaum, the unscrupulous, vampirically pale bookmaker whose shady maneuvers set the whole plot into motion. Marcia Gay Harden exudes fierce intelligence and buckets of carefully-aimed sex appeal as Bernie's sister Verna, whose unflagging drive to protect her brother -- even from himself -- almost excuse her twisted machinations. Jon Polito, as hot-tempered Italian ringleader Johnny Caspar, may be the only character at hand to actually feel sorry for, as his oddly consistent ethical code makes it a sure bet he doesn't stand a chance in this environment.

There's more to say about the acting, of course, but I'll stop there rather than pour accolades onto the entire cast. And when I say "entire," I'm not exaggerating: _every_ person who comes into frame, each and every one, from the leads to the smaller parts to the people with one line or none at all, fit together and play off of each other as though they'd been born to do nothing else in their entire lives. The resultant effect actually makes it difficult to subsequently keep from noticing acting and casting problems in other films.

A few brief words about some of the other eleements of production. Barry Sonnenfeld's sure-footed photography, as always, is smooth and steady where appropriate, and frenetic where necessary. The set design and costuming make for such an astonishing illusion that were this not a color film, you might actually forget that it was released 9 and not 69 years ago. And even the sound -- from the music (diegetic and otherwise) to the crystal-clear sound effects that pierce the visual and draw you in by the ears, like they're supposed to -- is a _presence_ in its own right throughout the film. I mean, when was the last time ice cubes dropping into an old-fashioned glass or the wringing out of an alcohol-soaked rag into a tinny dish felt truly _woven_ into the designed effect of a scene in a movie?

What continues to amaze me about MILLER'S CROSSING is that no matter how many times I see it, regardless of how hard I look, I _can't find anything wrong with it_. That's an extremely rare situation in my experience. It's what we all want out of a movie, and almost never get. MILLER'S CROSSING delivers exactly that feeling, and when Tom Regan leans against that tree and adjusts that hat in the haunting final shot, he knows it just as surely as we do. He doesn't seem to feel especially happy about it, but that's okay. _You_ will.

Rating:
Summary: I was bored !
Review: I was expected a great movie because I usually like the Coen brothers but Miller's Crossing was just boring. Too much useless dialogues for not many action scenes.
Not many outdoor scenes neither. Actors were okay but the story is simply not interesting enough.On the other hand, I liked the special features.

Rating:
Summary: Fast paced comic strip snapshot of mob violence
Review: I saw this 1990 film in a theater when it first came out but had generally forgotten it. Except, that is, for one memorable scene. That's when John Turturro, taken to Miller's Crossing for the purpose of being murdered by the mob, begs for his life and Gabriel Bryne, cast as the hit man, has to make a decision. It's all more complicated than that of course. After all, this is a Coen brothers' film where style is everything, and the characters are complex and edgy.

Set in the probation era, the characters are all larger than life. There's Albert Finney as a mob boss who's smart in many ways with the exception of the ways of love. He's fallen for Marcia Gay Harden whose toughness is part of her appeal. She's trying to protect her sleazy brother, played by John Turturro, and she's also romancing Gabriel Bryne. The plot thickens as competing mob bosses are at war with each other and the cool Bryne, who always wears a hat, is playing them all against each other.

The plot is complicated and hard to follow. Good thing for "rewind" and "replay" on my DVD or it would have just raced past me in a blur. It's supposed to be a blur though. The genius of the film is that the plot is just part of the fast paced comic strip snapshot of a time and a place with characters that are so exaggerated that they become symbols rather than real people.

The acting is over-the-top excellent, especially John Turturro. I'm constantly amazed how he is always the most memorable character in film after film. I also loved the details of the setting, especially Ms. Harden's wardrobe and hairdo. There's also an undercurrent of dark humor in the way the characters go about their lives..

I enjoyed the film and stayed up late just to see the interesting extras on the DVD. It was good to revisit it after all these years. Miller's Crossing filmmaking at its finest and I definitely recommend it.

Rating:
Summary: modest dvd edition of spectacular film
Review: The Coen Brothers' third film is a gorgeous and brilliant modern take on the classic gangster film. A flawless cast, headed by Gabriel Byrne in his best role ever, includes Albert Finney, John Turturro, Marcia Gay Harden and Joe Polito -- even brief appearances from Steve Buscemi, Frances McDormand and Sam Raimi. Every performance is terrific, but Byrne's Tom Reagan is a revelation '- a complex loner who can take a punch and hold on to his hat. Sets and costumes are beautiful, Barry Sonnenfeld brings considerable talent as DP, and Carter Burwell's music is haunting. This is an often forgotten or underrated film by the Brothers Coen, but don't miss it '- it presages later devices (our hero lives at the Barton Arms, for instance) and is worthwhile in its own right.

The dvd is sparse and has no vocal input from its creators, which seems passing strange, and a shame, but you can hear the film in English, French or Spanish, with subtitles available in English or Spanish, and there is a fun 16-minute featurette called 'Shooting Miller's Crossing: A Conversation with Barry Sonnenfeld', really a monologue about his experience, style and philosophy, including brief storyboard-film comparisons and a hysterical revelation about the ladies' room scene. There are also 22 behind-the-scenes photos; trailers for Miller's Crossing, Barton Fink and Raising Arizona; and multiple interview soundbites from Byrne, Harden and Turturro.

This is an ingenious genre film with twists, turns, double-crosses, great dialogue, beautiful shots and a superb cast, and it's great to have it out on dvd. An essential film.

Rating:
Summary: Top Coen Brothers' Film!
Review: "Miller's Crossing" is the Coen brothers' homage to gangster flicks. This is a movie that is in love with the gangster movie, from its cliches to its dialogue to its rich look, "Miller's Crossing" pays tribute to many of the great gangster films of the past.

Loosely based on Dashiell Hammet's "The Glass Key," "Miller's Crossing" has an extremely complex plot. Gabriel Byrne, in his finest performance, plays Tom, adviser and right-hand-man for Leo, played with fabulous machismo by Albert Finney. Leo, the leading gangster in an anonymous Prohibition-era town, is one of those "nice guy" gangsters - a self-professed big-hearted slob who's an "artist with the Thompson" -- the ultimate gangster weapon.

We meet Tom and Leo in a fabulous opening scene where Johnny Caspar (the delightful John Polito) talks about "ettics," fixed fights, and the need to kill off a manic John Turturro for selling the information on Caspar's fixed fights. This scene is a marvelous tribute to "The Godfather," which opens with people requesting favors of the Don. We also meet Eddie Dane, Caspar's fearsome henchman, who stalks the movie with a perpetual snarl and is the scourge of the gangster world.

This is a movie with a perfect look. From the thin spiral of smoke from a fired pistol, to the rich details of the city's gin-joints, to the ominous beauty of Miller's Crossing, the movie is steeped in its time period. One of the best shots is a perversion of a Norman Rockwell painting where a young ragamuffin and his pet dog peer closely at a murdered gangster -- just the kind of ironic twist that fans of the Coens will love.

The plot gets going because Leo refuses to give Caspar the permission to whack John Turturro for selling the fixed fight information. Caspar, a powerful gangster in his own right, declares war on Leo. In a magnificent scene, two henchmen try to whack Leo in his house, and while Leo's house goes up in flames Leo blows away the two hitmen as well as a carful of other assassins on the street outside. In typical Coen fashion, the scene is accompanied by a soaring rendition of "Danny Boy" -- wow!

Complicating matters, Tom is sleeping with Leo's girlfriend, Verna (Patricia Gay Harden, who throws the best punch ever thrown by a woman in a gangster film), and Leo finds out. Tom appears to flip sides, going over to Caspar and the Dane and appears to be working on their side. Still, this movie is about codes of honor, and ulterior motives remain intact.

The dialogue in this movie is wonderful, with gangster/period slang injecting a strong dose of style and wit into the movie. Instead of a mere, "What's up?" we hear, "What's the rumpus?" Instead of "Get out," we hear, "Take your flunky and dangle." Instead of "That's insulting," we hear, "I'm sick of the high hat!" Instead of "I'm going to rat you out," we get, "If I don't hear from you, I start eating in restaurants." And Steve Buscemi steals the show with a rapid-fire speech to Tom.

After a bunch of double-crosses, threats, gunfights, pointed jokes about city corruption, and subtle jokes about the veiled homosexuality underlying virtually all gangster movies, "Miller's Crossing" builds to a dark crescendo when all motives are laid bare. The characters cross the point of no return, and the movie closes with a wonderfully-enigmatic, melancholy Tom staring after his beloved Verna and Leo.

A bit dark and bloody, even by the Coen brothers' standards, this movie will have some squirming in their seats from time to time. But make no mistake - this is a movie filled with beauty, humor, and the sheer love of filmmaking. A must-have for any fan of the gangster genre as well as any fan of the Coens' other films.

Rating:
Summary: A Truly Underrated Gangland Masterpiece
Review: In the world of gangster movies, there are many titles that deserve to be on the list of the greatest ever. Classics like THE GODFATHER, GOODFELLAS, and ONCE UPON A TIME IN AMERICA are usually mentioned in the same breadth and deservedly so. One film that also deserves to be on the list, and isn't but should be regardless, is MILLER'S CROSSING, the third feature from the highly talented Coen Brothers released in 1990. The Coens are mostly known for their later-day masterworks like FARGO and THE BIG LEBOWSKI, not to mention their second film RAISING ARIZONA which starred Nicolas Cage and Holly Hunter. After seeing MILLER'S CROSSING for the first time, as well as numerous times after that, I have to say that this is their crowning achievement. It's practically flawless from beginning to end; even most so-called "perfect" films have at least one or two small flaws in them. Everything fires on all cylinders during all two hours of MILLER'S CROSSING, and if there's any flaw whatsoever, I can't find any.

Gabriel Byrne, in probably his best performance, stars as Tom Reagan, the wise right-hand man to Leo (Albert Finney), an Irish crime boss who is engaging in a turf war with his former protege turned rival Johnny Caspar (Jon Polito), the leader of the Italian mob. In the first scene of the film, Johnny wants Leo to order a hit on a nervous nelly named Bernie (a terrific John Turturro) who he claims has been selling out his fight bets to various others, making him lose money in the process. Leo refuses to do the favor for Caspar, since Bernie is the brother of his lover Verna (Marcia Gay Harden). Tom thinks that not killing Bernie is a bad idea, but remains loyal to Leo and his decision. However, Tom is also having an affair with Verna, and it begins to test his trust with Leo. Caspar, meanwhile, orders a hit on Leo which fails miserably (in a hilariously bloody sequence with the music of the Irish song "Danny Boy" playing in the background), but that is not going to stop Caspar from trying to claim the throne. When Tom finally confesses to Leo that he is sleeping with Verna, Leo is through with him for good. This leaves an open door though. Knowing all the angles from every side, Tom decides to play all of them, remaining loyal to Leo while getting all of his enemies out of the way, and to also pay off his enormous gambling debts.

This is about as far with the plot as I go. The plot for the movie is very complicated, and you may need a second viewing to figure out what's going on, but this is one of those rare movies that rewards repeated viewings. The plot itself is so well-written and it shows on screen. There's a surprise lurking around every corner, but it never detracts from the story like most movies do. It enhances the experience, which is the right way to go. And thankfully, the Coens don't sacrifice character development, which helps because we really do care about these characters (yes, even the bad ones).

The performances are all top-notch. Gabriel Byrne is perfect as Tom, a man who has the brains and chops to be a leader, and isn't as big of a sap as Leo, yet decides to stay in the shadows until called for. He also lets his flaws be known and doesn't want to be forgiven for them, which is refreshing considering that in this lifestyle, flaws are usually seen as a virtue. Albert Finney is both tough and vulnerable as Leo. He can be downright sweet with his friends, and be very vicious with a tommy gun if he gets his hands on one. Marcia Gay Harden is slinky and seductive as Verna - so much so that you can't tell what her motives are and which side she's on. John Tuturro is awesome as Bernie, who develops him as a nebbish fellow in way over his head at first, but makes him more devious later on in the film and he turns out to be important to the plot than we realized. Jon Polito is very funny as Caspar; J.E. Freeman is dark and menacing as Caspar's long-time friend and hit man Eddie Dane; and Steve Buscemi has a small cameo as Bernie's friend Mink, who also plays a vital part later on.

The set design and cinematography also warrant a mention. The camerawork is just stunning in this movie, showing the 1930s atmosphere in all its lurid glory, and evoking the feel of a Dick Tracy comic book at the same time. The buildings and stage sets also show what is was like at that time period, and makes you really feel like you're there. Heck, even the dialogue crackles with the zing and style of what they must've said back then (almost everyone in the movie asks at some point, "What's the rumpus?").

This is as close to perfect as a movie is ever gonna get, in my opinion. MILLER'S CROSSING is an absolute triumph in every sense of the word, and my only complaint about it is that it ends too soon like most great movies do. Highly recommended.

Rating:
Summary: Best Irish Mob Film
Review: While not given much attention upon release, Miller's Crossing has developed a devoted cult following, particularly among fans of the Coen Bros. Ratcheting up the elements that made Blood Simple so popular (grotesque, humorous violence, bizarre but consistent characters, random chance undoing complex plans, incredible plot complexity, etc. etc. etc.), Miller's Crossing nonetheless manages to be far more emotionally powerful than the earlier film. This one bears quite a few repeat viewings, with a plot full of more twists and turns than most of us can follow in one sitting. Like most of the Coens' films, this is tremendously enjoyable, even when you're not quite sure what's happening or why. This is one of my all-time favorites. A perfect script, great cinematogrophy, a top-notch cast, and, of course, flawless production and direction make this one a classic waiting to be discovered. Simply put, one of the best films ever made. Miller's Crossing is a morality play created with infinite style. Complex characters, complex plot, excellent acting, and great editing. Probablly Gabriel Byrne's best work. If you consider yourself a sophisticated moviegoer, this is not one to miss. But a caveat to the mainstream, you can't eat popcorn and watch this movie at the same time; it requires your full attention. And if you thought that the Road to Perdition was a great film you will probably not understand why so many of us love Miller's Crossing.

Rating:
Summary: Finally out on DVD!!!
Review: Is there honor among thieves?

So goes the central question of an early film from the Coen brothers. When they made it, the Coen's were still running out of the public eye - their quirky masterpieces, "Raising Arizona" and "Fargo" had not yet brought them fame. And because of that, "Miller's Crossing", a film about mob conflicts between the Irish gangs and the Italians in an unnamed Midwestern city (it is Chicago, isn't it???? Or is it?) did not reap its fame in theaters, but became a cult favorite on VHS. The release of the DVD in May of 2003 raised even more interest in the film.

In the Coen's world of gangsters, you don't just wait for the next killing, you've got to stay on your toes and figure out the next double-cross, and the next, and the next. Betrayal, revenge, and following orders - those are the central themes that result in loss of life in this period piece. The Coen's show early mastery of cinematography, score and sound. The camera angles, the transition between scenes, the focus on the details in the forest, and in every scene that takes place in Tom's apartment...they're all intricate and award-winning.

But, the film is ultimately character driven. The Coen's cast a couple of actors they weren't that familiar with (Gabriel Byrne as Tom Reagan and Albert Finney, so Irish he's green as Leo, the mob boss) and surrounded them with their usual cronies: Jon Polito as a rival of Leo's, Italian Johnny Caspar; John Turturro in fine form as Bernie Bernbaum; bit parts for Steve Buscemi, Michael Jeter, and J.E. Freedman as Caspar's henchman, "the Dane". They took a chance on unknown actress Marcia Gay Harden to play the sexy, conniving Verna; and it paid off, as she played brilliantly, foreshadowing her skills and the Oscar she received for "Pollock", and her nomination for "Mystic River" this year.

Synopsis of the plot:
Tom Reagan (Byrne) is the number one lieutenant of the Irish crime family, and the person the crimelord, Leo (Finney), trusts the most. He's steely-eyed, cynical, and accustomed to Leo tuning in to Tom's will. Throughout the film Tom seems to be getting in deeper and deeper in gambling losses, which he stubbornly refuses to let Leo pay. Less well known is the fact that he's carrying on with sultry Verna, who Leo's fallen in love with. Tom wants to throw Verna's brother, a double crosser named Bernie Bernbaum who "makes book" and likes boys more than girls...to the wolves, in the form of minor Italian underboss Johnny Caspar. Leo refuses.

The seeds of dissension are sown, and before the film ends, Tom has been everyone's whipping boy, based on his innate ability for the double cross. The final scenario leaves your head spinning, but in true Coen form, the central question - is there honor among thieves? - has been answered. And like the big, big movies of the 40's and 50's, the Coen's leave the best for the last; you will savor the last big scene.

I thought Gabriel Byrne was wonderful in the lead role.

At the time he shot this, he'd had bit parts in television and movies for over ten years. "Miller's Crossing", his first lead, proved his vehicle to move his career up, and helped him cross over into film producing. He has the memorable lines:

"If you want me to keep my mouth shut, it's gonna cost you some dough. I figure a thousand bucks is reasonable, so I want two."

And to Verna, who's a Jewess:

"If I'd known we were gonna cast our feelings into words, I'd have memorized the Song of Solomon."

Chemistry between Harden and Byrne is a bit puzzling, but it is definitely living and breathing onscreen.

There isn't a poor performance in "Miller's Crossing", but special mention should go to character actor John Turturro, who has the benefit of the role that would normally go to Steve Buscemi, (and Buscemi has little more than a walk on). True to form, Turturro and Buscemi can each play the mealy-mouthed, snide little characters that annoy everyone....really a mark of how brilliant each of them is! Laughingly, Turturro based his painful, whiny character on his observations of director Barry Sonnenfeld's demeanor on the set!

And in a truly Coen-like twist, Albert Finney also shows his versatility by appearing, as a gag, in drag, in the background of the ladies' room, a scene in which Tom confronts Verna about her brother.

There are just not enough accolades to give the quality of this film, and the transfer to DVD is inspiring, although special features are limited to discussions with director and actors. Since they're all such fascinating individuals, this may have proved wisest - it takes nothing away from the film.

Worth a spot in your DVD collection, "Miller's Crossing" is not "The Godfather" - but almost.

Rating:
Summary: A dangerous intersection indeed....
Review: This is one of the earlier collaborations by the Cohen brothers who co-authored the screenplay, directed by Joel Cohen. I enjoyed it more when I saw it again recently than I did the first time almost 15 years ago because I now have a greater appreciation of Barry Sonnenfeld's brilliant cinematography. The acting is also outstanding, notably Gabriel Byne (Tom Reagan), Albert Finney (Leo), Marcia Gay Harden (Verna), Joe Polito (Johnny Caspar), and John Turturro (Bernie Bernbaum). There are two separate but related plots which are resolved, inevitably, in a violent climax. The first involves relationships between Irish-American and Italian-American gangsters during the 1930s; the other involves Reagan's relationships with his boss, Leo, and Leo's paramour, Verna. The screenplay examines how these and other relationships interact as loyalties are forged and betrayed, ambitions collide, and difficult choices must be made. Bernie Bernbaum is one of the most interesting characters in this film. He is Verna's brother, a silver-tongued bookie, who pays for protection by Leo which proves necessary when he falls deeply into debt to Caspar. The Coens are experts at choreographing almost casual human collisions during the completion of what often resembles a chess game, focusing our attention on a sequence of moves and counter-moves. (That is less true of the Coens' Fargo which has a much tighter plot.) As in The Road to Perdition (2002), this film brilliantly captures its period and locale while examining various types of dysfunctional relationships which have probably existed for thousands of years. Whereas I associate the first and second Godfather films with Tolstoy and Dickens, I associate Miller's Crossing as well as The Road to Perdition with Aeschylus and Sophocles.