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Gangs Of New York

© James C. Hess

Several years ago, while doing research for a screenplay that never came to fruition, owing much to studio politics within the Hollywood Machine, I came across a certain fact.

A certain, very interesting fact. A certain, very interesting fact so interesting that some, given to melodramatics, through much misplaced bravado, would suggest that it is, in fact, earth-shaking:

Before he decided to follow the path of filmmaker, director Martin Scorsese gave serious consideration to becoming a priest in the Catholic faith.

Superficial consideration of this fact might lead some to believe that instead of pursuing a road of purification and absolution Scorsese instead chose a path of certain self-ruination and eternal damnation.

Of course, with appropriate application of logic and reason, one will find quickly that this consideration is wrong, that the actual truth and reality of the matter is exactly opposite of what has been suggested, that despite the apparent path Scorsese chose so many years ago, he remains on his original course. A course to enlightenment and belief, but instead of going to God's House to do so he spends much time in the cathedral of shadows and light; instead of formal religion, theology, and spirituality as the parameters of this pursuit he uses narrative and linear storytelling to find meaning and purpose, function and definition. If there is any doubt to this, consider almost any film or movie he has directed, and find it to be true and certain.

So why, then, did he choose to direct the film "Gangs Of New York"? There is no logic or reason to do so, based on what has been offered here. The answer, the explanation is simple:

Ego.

"Gangs Of New York" does not fit the canon of work Scorsese has compiled to date, and the reason for this is pure and without hesitation: Ego. The chance, as director, as auteur, to rewrite history, to present it as nihilism and revisionism unbound or ummatched, and to do so without concern of offending the sensibilities of those who know historical fact and truth to be otherwise.

But, again, why do this, other than to satisfy ego?

"Gangs Of New York" opens on a scene of certain ego, embodied by catacombs beneath rotting and ruined tenements, in New York, carved , it is implied, by sheer anger and hatred for one's fellow human. At the center of this setting is an Irish-American leader named Priest Vallon (Liam Neeson), who is preparing to wage war on those who would be non-believers in his cause. (Were this film done properly, on the aforementioned path of enlightenment, for which Scorsese is known, this scene alone would make sense, and would serve a two-fold purpose: Like a priest preparing for Mass, Priest is preparing to meet the masses who might be converted to his cause and belief system. But. . . since this film is a vehicle for excess of ego this scene fails on all levels, and merely serves to drive the narrative and story along a skewed and confusing path.)