Customer Reviews

Miller's Crossing

5 star:		(190)
4 star:		(26)
3 star:		(16)
2 star:		(7)
1 star:		(10)

 

 

Yes, FARGO won lots of awards, and sure, RAISING ARIZONA isuproariously funny, but make no mistake: MILLER'S CROSSING is thequintessential 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.

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. Freeman drips evil and impending violence all over the screen as smarter-than-you-want-him-to-be enforcer Eddie Dane. 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 his 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, 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 whole of it actually makes it difficult not to notice acting and casting problems in other films.

I'm running out of room here, so I can only nod to some of the other perfect elements of production. Barry Sonnenfeld's dead-on photography is measured and seamless where appropriate, frenetic where necessary. 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, 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 Reagan 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.

Most people will let the titles "GOODFELLAS", "THE GODFATHER (I & II)", "ONCE UPON A TIME IN AMERICA" and "THE UNTOUCHABLES" roll off their tongues when asked what their favorite movie is in the "mob" genre. Although seldom mentioned, "MILLER'S CROSSING" must take its rightful place alongside the above as one of the definitive treatments of gangster dynamics in American Cinema. I like to call it "The Thinking Man's Mob Movie" because it's a film that requires one to really focus on the action and dialog and not merely sit back in a lounger without attention span and wait for kill. These characters are multi-faceted, the plot is complex and the payoff for the viewer is delivered through outstanding cinematography (perhaps the Coen's best!) and skillful pacing. Coupling their usual stable of actors (Turturro, Buscemi, Polito) with veteran thespo Albert Finney, the exquisitely laconic Gabriel Byrne, and femme-semi-fatale Marcia Gay Harden, the Coen Brothers have assembled a truly great ensemble cast that transcends the brutality and authenticity of the era. Sure, there's great kill! In the good gangster pictures, violence is actually a character unto itself, always lurking in the background until called upon to make a point. In "MILLER'S CROSSING", the Coen Brothers seem to downplay the actual mechanical violence by isolating the factors and sequences that are responsible for it. Betrayal and revenge are important themes in this film. The crisp writing makes the conversation between characters appear effortless and uncontrived. There's a certain casuality in the dialog that belies the Coen's alarmingly accurate renderings of gangland execution. Finally, the enjoyment one derives from viewing "MILLER'S CROSSING" is not related to how much he/she understands the action or knows about the mob lifestyle, but to the appreciation of the filmmaker's art in communicating the brutality and fraternity of these individuals with astonishing beauty and precision.

As it's chilly performances and aloof style put the audience at a distance, it's hard to see the first time through what a brilliant film this picture is; but repeated veiwings have only cemented my opinion--Miller's Crossing is the finest American film since Raging Bull.

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

After being very disappointed with "Once Upon A Time in America" this weekend, I decided to watch another gangster movie that I had never seen before. This one gave me hope as it was done by the very brilliant Coen Brothers. And I'm happy to say that this time I wasn't disappointed. In fact, I had to watch it again the next day! "Miller's Crossing" is a hauntingly beautiful masterpiece for all the right reasons.

The story gets pretty complex, as this is from the Coen Brothers. It focuses Tom, a cold and smart-aleck lieutenant who works under an Irish Mob Boss, Leo. Things get ugly when Leo gets into a disagreement with an Italian underboss who feels that he is getting a raw deal. Things also get more complicated when Tom falls in love with Leo's woman. Sooner or later Tom's going to have to decide who's side he's on and who his enemies really are. All of this leads to an uncontrollable scenario with the signature Coen twists and surprises.

I loved everything about this film. From the very first minute I was hooked. Sure, it starts out kind of slow, but this is almost necessary in all of the Coen movies. There needs to be a heavy build-up so it can all come together. And once things start spinning, it doesn't stop until the ending credits. I loved how well-written the film was too. It relies heavily on dialogue, but we love hearing the conversations these characters get into. There's a lot of dark and subtle humor in it too, although it is a more serious film for the Coen Brothers.

The acting is also superb. Gabriel Byrne is fantastic as the cold and heartless Tom, who always has something smart or sarcastic to say. There is no way I could see anybody else playing the role. It suits him that well. John Turturro is also wonderful in his role and really gets to show off his acting ability. One of his better roles, I think. Everybody else in it is also terrific.

There's really not much to the DVD, which is a shame. I'm glad that it has finally come out on DVD and all, but it would've been nice to see a few more extras added to it. The special features included are cast interviews, trailers, a still gallery, and an interview with Barry Sonnenfeld. The Barry Sonnenfeld interview I found very interesting as he explains the look and feel of this movie as opposed to the other Coen movies he has worked on. The picture and sound quality is really good and brings out the tone of the movie.

"Miller's Crossing" is a definite winner in my mind. It is now quickly becoming a new favorite of mine. If you're looking for a great crime film with a story, interesting characters, and an overwhelming plot, this is the one to see. As with some of the other Coen movies, this one tends to get graphically violent at times, but it is never gratuitous and is always appropriate to the story. An excellent Coen film that is bound to give you a new look into the Mafia world.

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.

This was one of the first in the 90's wave of slick, reconstructed gangster/crime films (the Tarantino/Ritchie oeuvre, Usual Suspects, et al), and really the best. Gabriel Byrne's Hamlet-like advisor plays against Albert Finney's Sonny Corleone-like boss, double- and triple-crossing his way through threats, fists, gunfire, and Marcia Gay Harden's right hook into a big payday and said Ms. Harden's arms. A classic noir-style protagonist, Byrne's Tom Reagan is hard-boiled and gets harder as the film progresses.

Though supposedly loosely based on "The Glass Key" by Dashiell Hammett, there is a lot of James Cain's "Love's Lovely Counterfeit" thrown in, including much of the sparkling dialogue ("Hey, Tom, Bernie's been lookin' for ya." "Well, I'm right here, I'm not made of glass."). It definitely has the Coen touch with some quirky characters and wait-for-it humor, but these touches only add to the charm and texture of the Prohibition-era story. Watch closely for cameos (Sam Raimi) and Coen-world continuity (is Tom really the Barton Fink?).

The only Coen Brothers film not currently on DVD are Barton Fink and this one. Someone needs to do something about this.

A rich, complex masterpiece of a movie. Like a fine old tapestry, the overall effect is wonderful to behold; then you begin to examine it closely, and the artistry involved in each thread and every weave becomes dazzlingly apparent. This is a movie that commands your complete attention as it unfolds; immediately begins to haunt you when it ends; and then continues to beckon to you for another viewing.

The script is labyrinthine, centering around Tom Regan (Gabriel Byrne) as he maneuvers among competing factions of the mob (Albert Finney, Jon Polito, and others) during the Prohibition era. Mystery builds as one double cross piles on top of another while unexpected twists and turns complicate the puzzle. The viewer is kept entertainingly off-balance throughout. Nothing is predictable; surprises abound; and yet, by the time the closing credits roll, everything is resolved in a way that makes perfect sense, with each character having remained true to himself (or herself) all along.

Characters this complex demand the most of the actors playing them, and happily, the entire cast of "Miller's Crossing" is uniformly superb. Gabriel Byrne underplays beautifully, imbuing Tom with a supernatural calm that always seems just-this-close to erupting into something frightening and violent. Albert Finney gives one of his finest performances as the gangster kingpin who is slowly beginning to lose control of both the rackets and the local politicians; the scene in which he senses invaders in his home and slowly but surely plans his escape strategy is brilliantly played. John Turturro scores heavily as a conniving second-rate hood who wants to move into the big-time; and Marcia Gay Harden (always an underrated actress despite her eventual supporting actress Oscar win for "Pollock") is nothing short of perfection as his toughly protective - and confidently sexy - sister who can more than hold her own among the male denizens of this seedy underworld.

Add to this marvelous mix of script and cast some razor-sharp editing, a lush musical score, exquisite cinematography, and intelligent direction, and what you end up with is a film that begs to designated a genuine classic of the American cinema. For once 20th Century-Fox Home Video has done justice to one of their DVD releases. This edition offers a sharp video transfer and clear audio. The DVD also includes the Theatrical Trailer for this film and two other Coen Brothers offerings, "Barton Fink" and "Raising Arizona"; very insightful interview clips with Gabriel Byrne, Marcia Gay Harden, and John Turturro on the making of the film; an unfortunately limited (and mediocre) stills gallery; and an audio commentary. This is one you'll want to own and watched repeatedly; each viewing promises to expose additional layers of nuance and intrigue.

This is easily one of the Coen brothers finest films and it's long awaited debut on DVD will hopefully punctuate it's greatness. Although it never received it's due in it's day, many covet the film for it's absorbing script, mesmerizing acting and jaw dropping technical beauty. The story revolves around a hard nosed mobster who is sharp, cunning and loyal despite his flaws. It also showcases rich characters you simply never see from the tepid world of major studios. Even if you don't catch all that is happening behind the motivations for the plot and it's characters on the first viewing. The acting by Gabriel Byrne, Marcia Gay Harding, John Turturro, John Polito, J.E. Freeman and great Albert Finny will keep your attention glued. Also the technical presence of it's cinematography and sound will startle you now that DVD can properly showcase it. Add on top another gorgeous soundtrack by the underrated Carter Burwell, and it will just astound you that this film never swept the Academy Awards. IT IS THAT GREAT! The DVD won't be stacked with extras but, trust me, this movie is so good you won't need them. This film and a few others by Kubrick and Foreman are the only dramas, I watch over and over. I can't thank Fox enough for releasing this film on DVD!

The Coen brothers are easily the best film makers working today, and with each new release they move closer to the top spot of all time. Selecting a favorite from among the brothers' films is difficult, but if I were forced to choose it would have to be "Miller's Crossing". This film is superb in every respect - writing, direction, cinematography, even music. The film's theme is honor among thieves, and the opening scene in which this theme is enunciated ("if you can't trust a fix, what can you trust?") is a classic. The Coen brothers' genius in creating memorable characters is displayed throughout; each of the major characters is a delight to watch: the cynical (and devious) Tom Regan, the vampish (and devious) Verna, the treacherous (and devious) Bernie Birnbaum, the sentimental (and murderous) Leo, the philosophical (and murderous) Johnny Caspar, the sadistic (and murderous) Eddie Dane (you may start to notice a pattern or two emerging); and even minor characters, such as Frankie and Tic-Tac, are sharply drawn and brought vividly life. And nobody writes better dialogue than the Coens (Tom: "[Rug was] not a bad guy, if looks, brains, and personality don't count." Verna: "You'd better hope they don't.") If one were so inclined, one might describe "Miller's Crossing" as a post-modern exercise in cinematic revisionism, an ironic deconstruction of the traditional gangster film in which the Coen brothers take the elements of the genre and assemble them into a decontextualized parody which emphasizes surfaces and shapes: the fedoras, the cashmere overcoats and leather gloves, the smoking tommy guns with limitless magazines, the cigarette (no filters please) and the whisky bottles and the vintage autos. But why would one want to do that? The Coen brothers defy facile categorization of every kind and just continue producing one masterpiece after another. "Miller's Crossing" is their best; don't miss it.

Hats. It's all about the hats.

I haven't seen this much attention paid to headwear since the Indiana Jones movies. "What gives?" I ask myself every time I watch it. The final poetic image we see over the opening credits is of a fedora blown across an autumn clearing. Then, Gabriel Byrne (Tommy) goes to Marcia Gay Harden's (Verna) apartment, to retrieve his hat that he lost to her in a poker game the night before. Needless to say, that's not all he came for. From here, the action spins off into a labyrinthine series of crosses and double-crosses, where you never know whose allegiance is with whom.

So what do we make of all these hats? My take is that this movie is about men who know how to exist within the rules of a certain world, that of Prohibition-era mobsters. But everyone here is flawed, enough so that their judgement is clouded and at times they forget why those rules are in place. Tommy is a wise lieutenant in the Irish mob, but he has a dangerous gambling habit (and is currently in the middle of a slump) and his hat offers disguise from would-be collectors. Johnny Caspar, head of the Italian mob, is constantly telling people that he's "sick a gettin' the high hat," a reference to the lack of respect he's afforded. But does he really deserve that respect? Probably not, since he doesn't even have the sense to cover his shiny bald head with a stylish chapeau. (*There's a moment where someone refers to Johnny as `Giovanni Casparro', a reference to his necessarily hidden heritage and an example of the details the Coen's throw in as a reward for an attentive audience*) And if we want to stretch the theme to its limits, a mobster, dead in an alley, has his toupee lifted by a curious kid and his dog. His friends later misinterpret this as a sign of disrespect, and it pushes the impending turf war to the brink. So the hat covers the head, just as the flaws of these powerful men cloud their good sense. It's either that, or a typically stylish Coen red herring. Frankly, I'm such a fan of their movies that either answer will suffice.

If you are generally put-off by the Coen's movies, by their ludicrous non-sequiters that amount to little more than stylish tangents, I implore you to check out two scenes here that are picture perfect in conception and execution. The first is the opening scene in Albert Finney's (Leo) office. Johnny Casper has come to him ostensibly to ask for a favour, but really to talk of `ethics'. We get our first glimpses into the hatred between these two men, and their respective henchmen, Tommy and Eddie Dane. Even though the scene is dialogue heavy and for the most part quite civil, the Coen's manage to throw in many other subtle hints as to the incivility that is to come. The second scene has Leo surviving a hit, when the mobsters sent to kill him accidentally set fire to the first floor of his house. Leo feels the heat (literally and metaphorically), and manages to get the jump on his attackers. There is one great shot here, where cinematographer Barry Sonnenfeld manages to show the floorboards in Leo's bedroom actually warping from the heat. It's a shining example of his work throughout the movie. Both of these scenes are simple and economically, fitting perfectly into and advancing forward the plot.

All the actors here are top-notch, managing to portray these flawed men with the right mixture of charisma and world-weariness. Albert Finney, Jon Polito, J.E. Freeman, and John Turturro are the standouts. Turturro has some of the best moments. First when he begs for his life, and then when he cynically tries to quote his begging to save himself again. And Gabriel Byrne, an actor who I very rarely like, is perfect. He is asked to carry the movie, and he does a fantastic job.

`Miller's Crossing' is not cold and pretentious, as its reputation usually states. I admit that the Coen's fall into that trap sometimes. But not this time. Here, they've crafted a tightly plotted and suspenseful movie that never wastes a moment of its time, or of yours.