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Groovers and Mobsters Present: Gangster Movies

This review of “Miller’s Crossing” is part of a new monthly blog series created by Fandango Groovers and Movie Mobsters. Each entry will focus on top-notch films in different genres. For a complete list of this month’s entries, click on the graphic above or click here.

“Miller’s Crossing” (1990)

“Runnin’ things — It ain’t all gravy.”
~~Johnny Caspar

Directors Joel and Ethan Coen subscribe to the Just Enough Rope Theory — that is, they give their first-time viewers just enough rope to hang themselves and their seasoned-pro viewers just enough rope to get creative with. Nowhere is this more apparent than in “Miller’s Crossing,” the brothers’ stylish foray into the world of gangster films. This classic sometimes ends up lumped with the Coens’ noir canon — no shabby place to be, but not exactly accurate in this case. With its focus on mob mores and gang hierarchy, “Miller’s Crossing” is more a gangster film than anything else.  

Gangs are about two things: power and control. Irish mob boss Leo (Albert Finney) believes he’s lousy with* both; Tom (Gabriel Byrne) suspects otherwise. He knows Italian mobster Johnny Caspar (Jon Polito) has a beef with Bernie (John Turturro), the crooked bookie giving Johnny trouble, and he knows Johnny will start a gang war just to kill “the schmatte.” Tom also knows that Verna (Marcia Gay Harden), Leo’s dame, may be using his boss to keep Bernie — her brother — safe. So Tom, not about to let all this intel go to waste, sets about weaving a twisted web of deception that threatens to overtake “The Maltese Falcon” in complexity.

People tend to peg “Miller’s Crossing” as noir, and that is warranted — the film has characters molded from those in Dashiel Hammett’s “Red Harvest” and “The Glass Key.” But the movie should be recognized as a doozer of a gangster film. Most obvious is the hierarchical structure we observe in gangster films. When Johnny shows up to jaw about Bernie, Leo assumes his competition’s shown up as a courtesy. Wrong. Boss Johnny absorbs that as an insult to his status; so begins the battle. Then there’s the matter of “heavy lies the head that wears the crown,” suggested by Johnny’s remark about “runnin’ things.” This is an undercurrent in gangster films, and “Miller’s Crossing” thrusts it out like a credo. Helming a gangland empire is dirty business because no man can know another’s real motivations (or, as Tom says, “Nobody knows anybody. Not that well”). “Miller’s Crossing” also shines a spotlight on the father/son dynamic within this world (like “Goodfellas”), with Leo acting as Tom’s father figure. Yes, “Miller’s Crossing” is firmly rooted in gangster movie traditions. The only difference is that it classes them up with symbolism and irresistible ’30s slang. Dig?

 *To learn how to talk like these birds, skirts and yeggs, click here.