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- "Shooting Miller's Crossing: A Conversation with Barry Sonnenfeld"
- Interview clips with Gabriel Byrne, Marcia Gay Harden, and John Turturro
- Still gallery
Top Customer Reviews
The 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.)
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 Reagan, a trusted advisor to the city's Irish mob lord who falls out of favor and "defects" to the 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. J.E.Read more ›
I think the key to my love for Miller's, though, is realizing what what I believe the dream-hat meant (I'm sure this will be obvious to some, especially those that have watched a number of times, but I just want to throw this out there for folks that have seen it, but don't know what all the hubbub is about--because certainly, that's how I felt when I first saw it).
Whether people wear hats or not in the film seems to represent whether they are acting out of passion-from the heart, that is, or out of mind--thinking logically, or unemotionally.
Tom's conflict in the film is entirely between his head and his heart(Verna). He loses his hat to Verna in a poker game, and he goes back to her apartment to get it--and it is left on the sill while they fool around. And Tom says about his dream: "There's nothing more foolish than a man chasing his hat." Ultimately, Tom chooses mind over heart in the end--or does he? The final shot shows him methodically putting his hat on so low that we can't even see his eyes, so he seems to make the cold choice of pure logic--but then, as he looks after Leo leaving (Leo, who has been hatless throughout, pure emotion, has now learned something--and he is wearing a yarmulke), the camera sneaks in under the brim of Tom's hat to see his eyes. It is rare for a movie to understand its character's so well. Wonderful filmmaking
Most Recent Customer Reviews
I did not order this...I subsequently ordered a much less expensive DVD...It is really odd too!! I guess I will have to go through the process of disputing the charge.!!Published 8 days ago by Andre DeGarza
A little aged, for the same thing, I would give five stars to once upon a time in America, lower than 3 stars for this piece.Published 1 month ago by Zhenguo
pretty good story of the Irish Mob and all the subterfuge involved in these types of environments. Gabriel Byrne is reliable as usual.Published 1 month ago by Bruce J. Morrison
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