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History of the People's Republic of China
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History of the People's
Republic of China (PRC)
1949–1976
Mao era
Revolution
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Zhen Fan
Three-anti and Five-anti Campaigns
Hundred Flowers Campaign
Anti-Rightist Campaign
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(Great Chinese Famine)
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1976–1989
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Anti-Spiritual Pollution Campaign
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The history of the People's Republic of China details the history of mainland China since October 1, 1949, when, after a near complete victory by the Chinese Communist Party (CCP) in the Chinese Civil War, Mao Zedong proclaimed the People's Republic of China (PRC) from atop Tiananmen. The PRC has for several decades been synonymous with China, but it is only the most recent political entity to govern mainland China, preceded by the Republic of China (ROC) and thousands of years of imperial dynasties.
Contents
[hide]
1 1949–1976: Socialist transformation under Mao Zedong
2 1976–1989: Rise of Deng Xiaoping and economic reforms
3 1989–2002: Economic growth under the third generation
4 2002–present
5 See also
6 References
7 Further reading
7.1 Historiography
8 External links
1949–1976: Socialist transformation under Mao Zedong[edit]
Main article: History of the People's Republic of China (1949–1976)
Following the Chinese Civil War and the victory of Mao Zedong's Communist forces over the Kuomintang forces of Generalissimo Chiang Kai-shek, who fled to Taiwan, Mao declared the founding of the People's Republic of China on October 1, 1949. Mao's first goal was a total overhaul of the land ownership system, and extensive land reforms. China's old system of landlord ownership of farmland and tenant peasants was replaced with a distribution system in favor of poor/landless peasants which significantly reduced economic inequality. Over a million landlords were executed.[1] In Zhangzhuangcun, in the more thoroughly reformed north of the country, most "landlords" and "rich peasants" had lost all their land and often their lives or had fled. All formerly landless workers had received land, which eliminated this category altogether. As a result, "middling peasants," who now accounted for 90 percent of the village population, owned 90.8 percent of the land.[2] Mao laid heavy theoretical emphasis on class struggle, and in 1953 began various campaigns to persecute former landlords and merchants, including the execution of more powerful landlords. Drug trafficking in the country as well as foreign investment were largely wiped out.
Mao believed that socialism would eventually triumph over all other ideologies, and following the First Five-Year Plan based on a Soviet-style centrally controlled economy, Mao took on the ambitious project of the Great Leap Forward in 1958, beginning an unprecedented process of collectivization in rural areas. Mao urged the use of communally organized iron smelters to increase steel production, pulling workers off of agricultural labor to the point that large amounts of crops rotted unharvested. Mao decided to continue to advocate these smelters despite a visit to a factory steel mill which proved to him that high quality steel could only be produced in a factory. He thought that ending the program would dampen peasant enthusiasm for his political mobilization, the Great Leap Forward.
The implementation of Maoist thought in China may have been responsible for over 40-70 million deaths including famine during peacetime[3], with the Great Leap Forward, Anti-Rightist Campaign of 1957-58,[4] and the Cultural Revolution. Millions died from both executions and forced labour. Because of Mao's land reforms during the Great Leap Forward, which resulted in massive famines, thirty million perished between 1958 and 1961. By the end of 1961 the birth rate was nearly cut in half because of malnutrition.[5] Active campaigns, including party purges and "reeducation" resulted in the imprisonment or execution of those deemed to hold views contrary to Maoist ideals.[6] Mao's failure with the Leap reduced his power in government, whose administrative duties fell to Liu Shaoqi and Deng Xiaoping.
To impose socialist orthodoxy and rid China of "old elements", and at the same time serving certain political goals, Mao began the Cultural Revolution in May 1966. The campaign was far reaching into all aspects of Chinese life. Red Guards terrorized the streets as many ordinary citizens were deemed counter-revolutionaries. Education and public transportation came to a nearly complete halt. Daily life involved shouting slogans and reciting Mao quotations. Many prominent political leaders, including Liu and Deng, were purged and deemed "capitalist-roaders". The campaign would not come to a complete end until the death of Mao in 1976.
Supporters of the Maoist Era claim that under Mao, China's unity and sovereignty was assured for the first time in a century, and there was development of infrastructure, industry, healthcare, education (only 20% of the population could read in 1949, compared to 65.5% thirty years later)[7], which raised standard of living for the average Chinese. They also claimed that campaigns such as the Great Leap Forward and the Cultural Revolution were essential in jumpstarting China's development and "purifying" its culture. Others[who?] claim that though the consequences of both these campaigns were economically and humanly disastrous, they left behind a "clean slate" on which later economic progress could be built. Supporters often also doubt statistics or accounts given for death tolls or other damages incurred by Mao's campaigns, attributing the high death toll to natural disasters, famine, or other consequences of political chaos during the rule of Chiang Kai-shek.
1976–1989: Rise of Deng Xiaoping and economic reforms[edit]
Main article: History of the People's Republic of China (1976–1989)
Mao Zedong's death was followed by a power struggle between the Gang of Four, Hua Guofeng, and eventually Deng Xiaoping. Deng would maneuver himself to the top of China's leadership by 1980. At the Third Plenum of the Eleventh National Party Congress Central Committee, Deng embarked China on the road to Economic Reforms and Openness (改革开放 Gaige Kaifang), policies that began with the de-collectivization of the countryside, followed with industrial reforms aimed at decentralizing government controls in the industrial sector. A major document presented at the September 1979 Fourth Plenum, gave a "preliminary assessment" of the entire 30-year period of Communist rule. At the plenum, party Vice Chairman Ye Jianying declared the Cultural Revolution "an appalling catastrophe" and "the most severe setback to [the] socialist cause since [1949]."[8] The Chinese government's condemnation of the Cultural Revolution culminated in the Resolution on Certain Questions in the History of Our Party Since the Founding of the People's Republic of China, adopted by the Sixth Plenary Session of the Eleventh Central Committee of the Communist Party of China. This stated that "Comrade Mao Zedong was a great Marxist and a great proletarian revolutionary, strategist and theorist. It is true that he made gross mistakes during the "cultural revolution", but, if we judge his activities as a whole, his contributions to the Chinese revolution far outweigh his mistakes. His merits are primary and his errors secondary."[9]
On the subject of Mao's legacy Deng coined the famous phrase "7 parts good, 3 parts bad" and avoided denouncing Mao altogether. Deng championed the idea of Special Economic Zones (SEZs), areas where foreign investment would be allowed to pour in without strict government restraint and regulations, running on a basically capitalist system. Deng laid emphasis on light industry as a stepping stone to the development of heavy industries.
Supporters of the economic reforms point to the rapid development of the consumer and export sectors of the economy, the creation of an urban middle class that now constitutes 15% of the population, higher living standards (which is shown via dramatic increases in GDP per capita, consumer spending, life expectancy, literacy rate, and total grain output) and a much wider range of personal rights and freedoms for average Chinese as evidence of the success of the reforms.
Although standards of living improved significantly in the 1980s, Deng's reforms were not without criticism. Hard-liners asserted that Deng opened China once again to various social evils, and an overall increase in materialistic thinking, while liberals attacked Deng's unrelenting stance on political reform. Liberal forces began gathering in different forms to protest against the Party's authoritarian leadership. In 1989, the death of Hu Yaobang, a liberal figure, triggered weeks of spontaneous protests in the Tiananmen Square. The government imposed martial law and sent in tanks and soldiers to suppress the demonstrations. Western countries and multilateral organizations briefly suspended their formal ties with China's government under Premier Li Peng's leadership, which was directly responsible for the military curfew and bloody crackdown.
Critics of the economic reforms, both in China and abroad, claim that the reforms have caused wealth disparity, environmental pollution, rampant corruption, widespread unemployment associated with layoffs at inefficient state-owned enterprises, and has introduced often unwelcome cultural influences. Consequently, they believe that China's culture has been corrupted, the poor have been reduced to a hopeless abject underclass, and that the social stability is threatened. They are also of the opinion that various political reforms, such as moves towards popular elections, have been unfairly nipped in the bud. Regardless of either view, today, the public perception of Mao has improved at least superficially; images of Mao and Mao related objects have become fashionable, commonly used on novelty items and even as talismans. However, the path of modernization and market-oriented economic reforms that China started since the early 1980s appears to be fundamentally unchallenged. Even critics of China's market reforms do not wish to see a backtrack of these two decades of reforms, but rather propose corrective measures to offset some of the social issues caused by existing reforms.
In 1979, the Chinese government instituted a one child policy to try to control its rapidly increasing population. The controversial policy resulted in a dramatic decrease in child poverty. The law currently applies to about a third of mainland Chinese, with plans in place to ease it to a two-child limit.[10][11]
The achievements of Lee Kuan Yew to create an economic superpower in Singapore had a profound effect on the Communist leadership in China. They made a major effort, especially under Deng Xiaoping, to emulate his policies of economic growth, entrepreneurship, and subtle suppression of dissent. Over 22,000 Chinese officials were sent to Singapore to study its methods.[12]
1989–2002: Economic growth under the third generation[edit]
Main article: History of the People's Republic of China (1989–2002)
After the events at Tiananmen, Deng Xiaoping retired from public view. While keeping ultimate control, power was passed onto the third generation of leadership led by Jiang Zemin, who was hailed as its "core". Economic growth, despite foreign trade embargoes, returned to a fast pace by the mid-1990s. Jiang's macroeconomic reforms furthered Deng's vision for "Socialism with Chinese Characteristics". At the same time, Jiang's period saw a continued rise in social corruption in all areas of life. Unemployment skyrocketed as unprofitable SOE's were closed to make way for more competitive ventures, internally and abroad. The ill-equipped social welfare system was put on a serious test. Jiang also laid heavy emphasis on scientific and technological advancement in areas such as space exploration. To sustain vast human consumption, the Three Gorges Dam was built, attracting supporters and widespread criticism. Environmental pollution became a very serious problem as Beijing was frequently hit by sandstorms as a result of desertification.
The 1990s saw two foreign colonies returned to China, Hong Kong from Britain in 1997, and Macau from Portugal in 1999. Hong Kong and Macau mostly continued their own governance, retaining independence in their economic, social, and judicial systems.
Jiang and President Clinton exchanged state visits, but Sino-American relations took very sour turns at the end of the decade. On May 7, 1999, during the Kosovo War, US aircraft bombed the Chinese embassy in Belgrade. The U.S. government claimed the strike was due to bad intelligence and false target identification.
Inside the US, the Cox Report stated that China had been stealing various top US military secrets.
In 2001, a US surveillance plane collided with a Chinese fighter jet over international waters near Hainan, inciting further outrage with the Chinese public, already dissatisfied with the US.
On the political agenda, China was once again put on the spotlight for the banning of public Falun Gong activity in 1999. Silent protesters from the spiritual movement sat outside of Zhongnanhai, asking for dialogue with China's leaders. Jiang saw it as threatening to the political situation and outlawed the group altogether, while using the mass media to denounce it as an evil cult.
Conversely, Premier Zhu Rongji's economic policies held China's economy strong during the Asian Financial Crisis. Economic growth averaged at 8% annually, pushed back by the 1998 Yangtze River Floods. After a decade of talks, China was finally admitted into the World Trade Organization. Standards of living improved significantly, although a wide urban-rural wealth gap was opened, as China saw the reappearance of the middle class. Wealth disparity between East and the Western hinterlands continued to widen by the day, prompting government programs to "develop the West", taking on such ambitious projects such as the Qinghai-Tibet Railway. The burden of education was greater than ever. Rampant corruption continued despite Premier Zhu's anti-corruption campaign that executed many officials.
2002–present[edit]
Main article: History of the People's Republic of China (2002–present)
The first major issue faced by China in the 21st century as a new generation of leaders led by Hu Jintao after assuming power was the public health crisis involving SARS, an illness that seemed to have originated out of Guangdong province. China's position in the war on terror drew the country closer diplomatically to the United States. The economy continues to grow in double-digit numbers as the development of rural areas became the major focus of government policy. In gradual steps to consolidate his power, Hu Jintao removed Shanghai Party Chief Chen Liangyu and other potential political opponents amidst the fight against corruption, and the ongoing struggle against once powerful Shanghai clique. The assertion of the Scientific Perspective to create a Socialist Harmonious Society is the focus of the Hu-Wen administration, as some Jiang-era excesses are slowly reversed. In the years after Hu's rise to power, respect of basic human rights in China continue to be a source of concern.
The political status and future of Taiwan remain uncertain, but steps have been taken to improving relations between the Communist Party and several of Taiwan's parties that hold a less antagonistic view towards China, notably former rival Kuomintang.
The continued economic growth of the country as well as its sporting power status gained China the right to host the 2008 Summer Olympics. However, this also put Hu's administration under intense spotlight. While the 2008 Olympic was commonly understood to be a come-out party for People's Republic of China, in light of the March 2008 Tibet protests, the government received heavy scrutiny. The Olympic torch was met with protest en route. Within the country these reactions were met with a fervent wave of nationalism with accusations of Western bias against China.
In May 2008, a massive earthquake registering 8.0 on the Richter scale hit Sichuan province of China, exacting a death toll officially estimated at approximately 70,000. The government responded more quickly than it did with previous events, and has allowed foreign media access to the regions that were hit the hardest. The adequacy of the government response was generally praised, and the relief efforts extended to every corner of Chinese life. In May and June 2008, heavy rains in southern China caused severe flooding in the provinces of Anhui, Hunan, Jiangxi, Fujian and Guangdong, with dozens of fatalities and over a million people forced to evacuate. As of 2009 China has increased its internet monitoring capabilities by adding hundreds of new monitoring stations.
See also[edit]
History of China
History of the Republic of China
History of Hong Kong
History of Macau
Dynasties in Chinese History
Economic History of China
Historiography of China
History of Chinese Art
History of Education in China
History of Science and Technology in China
Legal History of China
Linguistic History of China
Military history of China
Naval History of China
Timeline of Chinese history
References[edit]
Jump up ^ Stephen Rosskamm Shalom. Deaths in China Due to Communism. Center for Asian Studies Arizona State University, 1984. ISBN 0-939252-11-2 pg 24
Jump up ^ The Great Leveler: Violence and the History of Inequality from the Stone Age to the Twenty-First Century , Walter Scheidel, 2017
Jump up ^ Fenby, J (2008). Modern China: The Fall and Rise of a Great Power, 1850 to the Present. Ecco Press. p. 351. ISBN 0-06-166116-3. Mao's responsibility for the extinction of anywhere from 40 to 70 million lives brands him as a mass killer greater than Hitler or Stalin, his indifference to the suffering and the loss of humans breathtaking
Jump up ^ Teiwes, Frederick C., and Warren Sun. 1999. China's road to disaster: Mao, central politicians, and provincial leaders in the unfolding of the great leap forward, 1955-1959. Contemporary China papers. Armonk, N.Y.: M.E. Sharpe. pp 52-55.
Jump up ^ MacFarquhar, Roderick. 1974. The origins of the Cultural Revolution. London: Published for Royal Institute of International Affairs, East Asian Institute of Columbia University and Research Institute on Communist Affairs of Columbia by Oxford University Press. p 4.
Jump up ^ Link, Perry (July 18, 2007). "Legacy Of a Maoist Injustice". The Washington Post.
Jump up ^ Galtung, Marte Kjær; Stenslie, Stig (2014). 49 Myths about China. Rowman & Littlefield. p. 189. ISBN 978-1442236226.
Jump up ^ Poon, Leon. "The People's Republic Of China: IV". History of China. Retrieved April 4, 2010.
Jump up ^ Sixth Plenary Session of the Eleventh Central Committee of the Communist Party of China (June 27, 1981). "Comrade Mao Zedong's Historical Role and Mao Zedong Thought --Resolution on Certain Questions in the History of Our Party Since the Founding of the People's Republic of China (abridged)". Communist Party of China. Retrieved April 14, 2010.
Jump up ^ Malcolm Moore (15 November 2013). "China to ease one-child policy". Telegraph. Retrieved 26 December 2013.
Jump up ^ "China's two-child policy will underwhelm". The Economist. 31 October 2015. Retrieved 23 November 2015.
Jump up ^ Chris Buckley, "In Lee Kuan Yew, China Saw a Leader to Emulate," New York Times March 23, 2015
Further reading[edit]
Lynch, Michael. Access to History: Mao's China 1936-97 (3rd ed. Hachette UK, 2015)
Historiography[edit]
Eben V. Racknitz, Ines. "Repositioning History for the Future - Recent Academic Debates in China" History Compass (2014) 12#6 pp 465–472.
Finnane, Antonia. "Reinventing Modern China: Imagination and Authenticity in Chinese Historical Writing." Asian Studies Review 39#1 (2015): 163-164.
Longxi, Zhang. "Re-conceptualizing China in our Time: From a Chinese Perspective." European Review 23#2 (2015): 193-209.
Unger, Jonathan. Using the Past to Serve the Present: Historiography and Politics in Contemporary China (Routledge, 2015)
External links[edit]
Cold War International History Project: Document Collection on China in the Cold War
"Rethinking ‘Capitalist Restoration’ in China" by Yiching Wu
Peoples Republic of China by P.M. Calabrese
China Timeline: A Chronology of Key Events in China by Gerhard K. Heilig
China from the Inside - 2006 PBS documentary. KQED Public Television and Granada Television for PBS, Granada International and the BBC.
Map of situation in East Asia at the time of declaration of the People's Republic of China (omniatlas.com)
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Gangs of New York
From Wikipedia, the free encyclopedia
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This article's lead section does not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. Please discuss this issue on the article's talk page. (February 2017)
Gangs of New York
Theatrical release poster
Directed by
Martin Scorsese
Produced by
Alberto Grimaldi
Harvey Weinstein
Screenplay by
Jay Cocks
Steven Zaillian
Kenneth Lonergan
Story by
Jay Cocks
Starring
Leonardo DiCaprio
Daniel Day-Lewis
Cameron Diaz
Jim Broadbent
John C. Reilly
Henry Thomas
Brendan Gleeson
Music by
Howard Shore
Cinematography
Michael Ballhaus
Edited by
Thelma Schoonmaker
Production
company
Alberto Grimaldi Productions
Initial Entertainment Group
Distributed by
Miramax
Release date
December 20, 2002 (2002-12-20)
Running time
168 minutes[1]
Country
United States
Language
English
Budget
$100 million[2]
Box office
$193.8 million[2]
Gangs of New York is a 2002 American epic period drama film directed by Martin Scorsese, set in the mid-19th century in the Five Points district of New York City. The screenplay is by Jay Cocks, Steven Zaillian, and Kenneth Lonergan. It was inspired by Herbert Asbury's 1927 non-fiction book, The Gangs of New York. It was made in Cinecittà, Rome, distributed by Miramax Films and nominated for numerous awards, including the Academy Award for Best Picture, among nine other Oscar nominations.
The film is set in 1863 and follows fictional gang leader William "Bill the Butcher" Cutting (Daniel Day-Lewis) in his roles as crime boss and political kingmaker under the helm of "Boss" Tweed (Jim Broadbent). The film culminates in a violent confrontation between Cutting and his mob with the protagonist Amsterdam Vallon (Leonardo DiCaprio) and his allies, which prefaces the real-life New York Draft Riots of 1863. It was released on December 20, 2002 and grossed $193 million worldwide.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Soundtrack
4 Historical accuracy
5 Release
6 Reception
6.1 Box office
6.2 Critical reception
7 Awards
8 See also
9 References
10 External links
Plot[edit]
This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (September 2017) (Learn how and when to remove this template message)
In the slum neighborhood of Five Points, Manhattan in 1846, two gangs have a final battle in Paradise Square: the nativist, Protestant "Natives" led by William "Bill the Butcher" Cutting, and the Irish Catholic immigrant "Dead Rabbits" led by "Priest" Vallon. Bill kills Vallon and declares the Dead Rabbits outlawed. Having witnessed this, Vallon's young son hides the knife that killed his father and is taken to an orphanage on Blackwell's Island.
Sixteen years later, Vallon's son, now called Amsterdam, returns to Five Points seeking revenge and retrieves the knife. An old acquaintance, Johnny Sirocco, familiarizes him with the local clans of gangs and thieves, all of whom pay tribute to Bill, who controls the neighborhood. Amsterdam is finally introduced to Bill, but keeps his past a secret, seeking to be recruited. He learns that many of his father's former loyalists are now in Bill's employ. Each year, Bill celebrates the anniversary of his victory over the Dead Rabbits; Amsterdam plans to murder him publicly during this celebration.
Amsterdam becomes attracted to pickpocket and grifter Jenny Everdeane, with whom Johnny is infatuated. Amsterdam gains Bill's confidence and Bill becomes his mentor, involving him in the dealings of corrupt Tammany Hall politician William M. Tweed. Amsterdam saves Bill from an assassination attempt, and is tormented by the thought that he may have done so out of honest devotion.
On the evening of the anniversary, Johnny, in a fit of jealousy over Jenny, reveals Amsterdam's true identity and intentions to Bill. Bill baits Amsterdam with a knife throwing act involving Jenny. As Bill toasts Priest Vallon, Amsterdam throws his knife, but Bill deflects it and wounds Amsterdam with a counter throw. Bill proclaims that rather than dying, Amsterdam shall live in shame, and burns his cheek with a hot blade. Going into hiding, Jenny nurses Amsterdam back to health and implores him to escape with her to San Francisco.
Amsterdam, however, returns to the Five Points seeking vengeance, and announces his return by hanging a dead rabbit in Paradise Square. Bill sends a member of his gang to investigate, but Amsterdam kills him and hangs his body in the square. In retaliation, Bill has Johnny severely beaten and run through with a pike, leaving it to Amsterdam to end his suffering. The incident garners newspaper coverage, and Tweed presents Amsterdam with a plan to defeat Bill's influence: Tweed will back the candidacy of Monk McGinn for sheriff. Monk wins in a landslide, and a humiliated Bill murders him. McGinn's death prompts Amsterdam to challenge Bill to a gang battle in Paradise Square.
City draft riots break out just as the gangs are preparing to fight, and Union Army soldiers are deployed to control the rioters. As the rival gangs face off, cannon fire from naval ships is fired directly into Paradise Square. Between the cannons and soldiers, many of the gang members are killed. Bill and Amsterdam face off against one another until Bill is severely wounded by a piece of shrapnel. He is finally killed by Amsterdam, who, along with Jenny, leaves New York and starts a new life in San Francisco.
Cast[edit]
Leonardo DiCaprio as Amsterdam Vallon
Daniel Day-Lewis as William "Bill the Butcher" Cutting
Cameron Diaz as Jenny Everdeane
Jim Broadbent as William "Boss" Tweed
John C. Reilly as Happy Jack Mulraney
Henry Thomas as Johnny Sirocco
Liam Neeson as "Priest" Vallon
Brendan Gleeson as Walter "Monk" McGinn
Gary Lewis as McGloin
Stephen Graham as Shang
Eddie Marsan as Killoran
Alec McCowen as Reverend Raleigh
David Hemmings as John F. Schermerhorn
Lawrence Gilliard Jr. as Jimmy Spoils
Cara Seymour as Hell-Cat Maggie
Roger Ashton-Griffiths as P. T. Barnum
Barbara Bouchet as Mrs. Schermerhorn
Michael Byrne as Horace Greeley
John Sessions as Harry Watkins
Richard Graham as Harvey-Card Player
Giovanni Lombardo Radice as Mr. Legree
Production[edit]
The country was up for grabs, and New York was a powder keg. This was the America not the West with its wide open spaces, but of claustrophobia, where everyone was crushed together. On one hand, you had the first great wave of immigration, the Irish, who were Catholic, spoke Gaelic, and owed allegiance to the Vatican. On the other hand, there were the Nativists, who felt that they were the ones who had fought and bled, and died for the nation. They looked at the Irish coming off the boats and said, "What are you doing here?" It was chaos, tribal chaos. Gradually, there was a street by street, block by block, working out of democracy as people learned somehow to live together. If democracy didn't happen in New York, it wasn't going to happen anywhere.
— Martin Scorsese on how he saw the history of New York City as the battleground of the modern American democracy[3]
Filmmaker Martin Scorsese had grown up in Little Italy in the borough of Manhattan in New York City during the 1950s. At the time, he had noticed there were parts of his neighborhood that were much older than the rest, including tombstones from the 1810s in Old St. Patrick's Cathedral, cobblestone streets and small basements located under more recent large buildings; this sparked Scorsese's curiosity about the history of the area: "I gradually realized that the Italian-Americans weren't the first ones there, that other people had been there before us. As I began to understand this, it fascinated me. I kept wondering, how did New York look? What were the people like? How did they walk, eat, work, dress?"[3]
In 1970, Scorsese came across Herbert Asbury's The Gangs of New York: An Informal History of the Underworld (1928) about the city's nineteenth century criminal underworld and found it to be a revelation. In the portraits of the city's criminals, Scorsese saw the potential for an American epic about the battle for the modern American democracy.[3] At the time, Scorsese was a young director without money or clout; by the end of the decade, with the success of crime films such as Mean Streets (1973), about his old neighborhood, and Taxi Driver (1976), he was a rising star. In 1979, he acquired screen rights to Asbury's book; however, it took twenty years to get the production moving forward. Difficulties arose with reproducing the monumental city scape of nineteenth century New York with the style and detail Scorsese wanted; almost nothing in New York City looked as it did in that time, and filming elsewhere was not an option. Eventually, in 1999, Scorsese was able to find a partnership with Harvey Weinstein, noted producer and co-chairman of Miramax Films.[3]
In order to create the sets that Scorsese envisioned, the production was filmed at the large Cinecittà Studio in Rome, Italy. Production designer Dante Ferretti recreated over a mile of mid-nineteenth century New York buildings, consisting of a five-block area of Lower Manhattan, including the Five Points slum, a section of the East River waterfront including two full-sized sailing ships, a thirty-building stretch of lower Broadway, a patrician mansion, and replicas of Tammany Hall, a church, a saloon, a Chinese theater, and a gambling casino.[3] For the Five Points, Ferretti recreated George Catlin's painting of the area.[3]
Particular attention was also paid to the speech of characters, as loyalties were often revealed by their accents. The film's voice coach, Tim Monich, resisted using a generic Irish brogue and instead focused on distinctive dialects of Ireland and Great Britain. As DiCaprio's character was born in Ireland but raised in the United States, his accent was designed to be a blend of accents typical of the half-Americanized. To develop the unique, lost accents of the Yankee "Nativists" such as Daniel Day-Lewis's character, Monich studied old poems, ballads, newspaper articles (which sometimes imitated spoken dialect as a form of humor) and the Rogue's Lexicon, a book of underworld idioms compiled by New York's police commissioner, so that his men would be able to tell what criminals were talking about. An important piece was an 1892 wax cylinder recording of Walt Whitman reciting four lines of a poem in which he pronounced the word "world" as "woild", and the "a" of "an" nasal and flat, like "ayan". Monich concluded that native nineteenth century New Yorkers probably sounded something like the proverbial Brooklyn cabbie of the mid-twentieth.[3]
Filming began in New York and Rome in August 30, 2000 and continued through April 14, 2001. Due to the strong personalities and clashing visions of director and producer,[clarification needed] the three year production became a story in and of itself.[3][4][5][6] Scorsese strongly defended his artistic vision on issues of taste and length while Weinstein fought for a streamlined, more commercial version. During the delays, noted actors such as Robert De Niro and Willem Dafoe had to leave the production due to conflicts with their other productions. Costs overshot the original budget by 25 percent, bringing the total cost over $100 million.[4] The increased budget made the film vital to Miramax Films' short term success.[5][7]
After post-production was nearly completed in 2001, the film was delayed for over a year. The official justification was, after the September 11, 2001 attacks certain elements of the picture may have made audiences uncomfortable; the film's closing shot is a view of modern-day New York City, complete with the World Trade Center's towers, despite their having been leveled by the attacks over a year before the film's release.[8] However this explanation was refuted in Scorsese's own contemporary statements, where he noted that the production was still filming pick-ups even into October 2002.[5][9]
Weinstein kept demanding cuts to the film's length, and some of those cuts were eventually made. In December 2001, Jeffrey Wells[who?] reviewed a purported workprint of the film as it existed in the fall of 2001. Wells reported the work print lacked narration, was about 20 minutes longer, and although it was "different than the [theatrical] version ... scene after scene after scene play[s] exactly the same in both." Despite the similarities, Wells found the work print to be richer and more satisfying than the theatrical version. While Scorsese has stated the theatrical version is his final cut, he reportedly "passed along [the] three-hour-plus [work print] version of Gangs on tape [to friends] and confided, 'Putting aside my contractual obligation to deliver a shorter, two-hour-and-forty-minute version to Miramax, this is the version I'm happiest with,' or words to that effect."[8]
In an interview with Roger Ebert, Scorsese clarified the real issues in the cutting of the film. Ebert notes,
His discussions with Weinstein, he said, were always about finding the length where the picture worked. When that got to the press, it was translated into fights. The movie is currently 168 minutes long, he said, and that is the right length, and that's why there won't be any director's cut — because this is the director's cut.[10]
Soundtrack[edit]
Main article: Gangs of New York: Music from the Miramax Motion Picture
Robbie Robertson supervised the soundtrack's collection of eclectic pop, folk, and neo-classical tracks.
Historical accuracy[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)
Scorsese received both praise and criticism for historical depictions in the film. In a PBS interview for the History News Network, George Washington University professor Tyler Anbinder discussed the historical aspects of the film.[11][12]
Asbury's book described the Bowery Boys, Plug Uglies, True Blue Americans, Shirt Tails, and Dead Rabbits, who were named after their battle standard, a dead rabbit on a pike.[3] The book also described William Poole, the inspiration for William "Bill the Butcher" Cutting, a member of the Bowery Boys, a bare-knuckle boxer, and a leader of the Know Nothing political movement. Poole did not come from the Five Points and was assassinated nearly a decade before the Draft Riots. Both the fictional Bill and the real one had butcher shops, but Poole is not known to have killed anyone.[13][14] The book also described other famous gangsters from the era such as Red Rocks Farrell, Slobbery Jim and Hell-Cat Maggie, who filed her front teeth to points and wore artificial brass fingernails.[3]
Anbinder said that Scorsese's recreation of the visual environment of mid-19th century New York City and the Five Points "couldn't have been much better".[11] All sets were built completely on the exterior stages of Cinecittà Studios in Rome.[15] By 1860, New York City had 200,000 mostly Catholic Irish immigrants[16] in a population of 800,000.[17]
According to Paul S. Boyer, "The period from the 1830s to the 1850s was a time of almost continuous disorder and turbulence among the urban poor. The decade from 1834–1844 saw more than 200 major gang wars in New York City alone, and in other cities the pattern was similar."[18]
As early as 1839, Mayor Philip Hone said: "This city is infested by gangs of hardened wretches" who "patrol the streets making night hideous and insulting all who are not strong enough to defend themselves."[19] The large gang fight depicted in the film as occurring in 1846 is fictional, though there was one between the Bowery Boys and Dead Rabbits in the Five Points on July 4, 1857, which is not mentioned in the film.[20] Reviewer Vincent DiGirolamo concludes that "'Gangs of New York' becomes a historical epic with no change over time. The effect is to freeze ethno-cultural rivalries over the course of three decades and portray them as irrational ancestral hatreds unaltered by demographic shifts, economic cycles and political realignments."[21]
In the film, the Draft Riots are depicted mostly as acts of destruction but there was considerable violence during that week in July 1863, which resulted in more than one hundred deaths, mostly freed African-Americans. They were especially targeted by the Irish, in part because of fears of job competition that more freed slaves would cause in the city.[22] The film references the infamous Tweed Courthouse, as "Boss" Tweed refers to plans for the structure as being "modest" and "economical".[citation needed]
In the film, Chinese Americans were common enough in the city to have their own community and public venues. Significant Chinese migration to New York City did not begin until 1869 (although Chinese people migrated to America as early as the 1840s), the time when the transcontinental railroad was completed. The Chinese theater on Pell St. was not finished until the 1890s.[23] The Old Brewery, the overcrowded tenement shown in the movie in both 1846 and 1862–63, was actually demolished in 1852.[24]
Release[edit]
The original target release date was December 21, 2001, in time for the 2001 Academy Awards but the production overshot that goal as Scorsese was still filming.[5][9] A twenty-minute clip, billed as an "extended preview", debuted at the 2002 Cannes Film Festival and was shown at a star-studded event at the Palais des Festivals et des Congrès with Scorsese, DiCaprio, Diaz and Weinstein in attendance.[9]
Harvey Weinstein then wanted the film to open on December 25, 2002, but a potential conflict with another film starring Leonardo DiCaprio, Catch Me If You Can produced by DreamWorks, caused him to move the opening day to an earlier position. After negotiations between several parties, including the interests of DiCaprio, Weinstein and DreamWorks' Jeffrey Katzenberg, the decision was made on economic grounds: DiCaprio did not want to face a conflict of promoting two movies opening against each other; Katzenberg was able to convince Weinstein that the violence and adult material in Gangs of New York would not necessarily attract families on Christmas Day. Of main concern to all involved was attempting to maximize the film's opening day, an important part of film industry economics.[5]
After three years in production, the film was released on December 20, 2002; a year after its original planned release date.[9] While the film has been released on DVD and Blu-ray, there are no plans to revisit the theatrical cut or prepare a "director's cut" for home video release. "Marty doesn't believe in that," editor Thelma Schoonmaker stated. "He believes in showing only the finished film."[8]
Reception[edit]
Box office[edit]
The film made $77,812,000 in Canada and the United States. It also took $23,763,699 in Japan and $16,358,580 in the United Kingdom. Worldwide the film grossed a total of $193,772,504.[25]
Critical reception[edit]
On review aggregating website Rotten Tomatoes the film has an approval rating of 75% based 202 reviews, with an average rating of 7.1/10. The site's critical consensus reads, "Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance."[26] The review aggregate website Metacritic gave the film a score of 72 out of 100. based on 39 critics, indicating "generally favorable reviews".[27]
Roger Ebert praised the film but believed it fell short of Scorsese's best work, while his At the Movies co-star Richard Roeper called it a "masterpiece" and declared it a leading contender for Best Picture.[28] Paul Clinton of CNN called the film "a grand American epic".[29] In Variety, Todd McCarthy wrote that the film "falls somewhat short of great film status, but is still a richly impressive and densely realized work that bracingly opens the eye and mind to untaught aspects of American history." McCarthy singled out the meticulous attention to historical detail and production design for particular praise.[30]
Some critics were disappointed with the film, complaining that it fell well short of the hype surrounding it, that it tried to tackle too many themes without saying anything unique about them, and that the overall story was weak.[31]
Awards[edit]
Wins
BAFTAs: Best Actor (Daniel Day-Lewis)[32]
Chicago Film Critics Association Awards: Best Actor (Daniel Day-Lewis)[33]
Critics' Choice Movie Awards: Best Actor (Daniel Day-Lewis)[34]
Florida Film Critics Circle Awards: Best Actor (Daniel Day-Lewis), Best Director (Martin Scorsese)
Golden Globes: Best Director (Martin Scorsese), Best Original Song (U2 for "The Hands That Built America")[35]
Kansas City Film Critics Circle Awards: Best Actor (Daniel Day-Lewis)
Las Vegas Film Critics Society Awards: Best Actor (Daniel Day-Lewis), Best Original Song (U2 for The Hands That Built America)[36]
Los Angeles Film Critics Association Awards: Best Actor (Daniel Day-Lewis), Best Art Direction (Dante Ferretti)
New York Film Critics Circle Awards: Best Actor (Daniel Day-Lewis)[37]
Online Film Critics Society Awards: Best Actor (Daniel Day-Lewis)[38]
San Diego Film Critics Society Awards: Best Actor (Daniel Day-Lewis)
Satellite Awards: Best Art Direction (Dante Ferretti), Best Film Editing (Thelma Schoonmaker), Best Actor (Daniel Day-Lewis)
Screen Actors Guild Awards: Best Actor (Daniel Day-Lewis)[39]
Southeastern Film Critics Association Awards: Best Actor (Daniel Day-Lewis), Best Director (Martin Scorsese)[40]
Vancouver Film Critics Circle: Best Actor (Daniel Day-Lewis)
Nominations
Academy Awards: Best Picture (Alberto Grimaldi), (Harvey Weinstein), Best Director (Martin Scorsese), Best Art Direction (Dante Ferretti), Best Original Song (U2 for "The Hands That Built America"), Best Actor (Daniel Day-Lewis), Best Cinematography (Michael Ballhaus), Best Costume Design (Sandy Powell), Best Editing (Thelma Schoonmaker), Best Sound (Tom Fleischman), (Eugene Gearty), (Ivan Sharrock), Best Original Screenplay (Jay Cocks), (Steven Zaillian), (Kenneth Lonergan)
BAFTAs: Best Film, Best Film Music (Howard Shore), Best Visual Effects (R. Bruce Steinheimer), (Michael Owens), (Edward Hirsh), (Jon Alexander), Best Cinematography (Michael Ballhaus), Best Costume Design (Sandy Powell), Best Film Editing (Thelma Schoonmaker), Best Makeup and Hair (Manlio Rocchetti), (Aldo Signoretti), Best Production Design (Dante Ferretti), Best Original Screenplay (Jay Cocks), (Steven Zaillian), (Kenneth Lonergan), Best Sound, Best Direction (Martin Scorsese)[32]
Broadcast Film Critics Association Awards: Best Director (Martin Scorsese), Best Picture
Chicago Film Critics Association Awards: Best Director (Martin Scorsese), Best Cinematography (Michael Ballhaus)
Directors Guild of America: Best Director (Martin Scorsese)
Empire Awards: Best Actor (Daniel Day-Lewis)
Golden Globes: Best Motion Picture – Drama, Best Actor (Daniel Day-Lewis), Best Supporting Actress (Cameron Diaz)
Online Film Critics Society Awards: Best Art Direction (Dante Ferretti), Best Cinematography (Michael Ballhaus), Best Costume Design (Sandy Powell), Best Director (Martin Scorsese), Best Sound, Best Ensemble[41]
Phoenix Film Critics Society Awards: Best Actor (Day-Lewis), Best Costume Design (Sandy Powell), Best Art Direction (Dante Ferretti), Best Makeup (Manlio Rocchetti, Aldo Signoretti)
Satellite Awards: Best Cinematography (Michael Ballhaus), Best Costume Design (Sandy Powell), Best Sound, Best Visual Effects
Visual Effects Society: Best Supporting Visual Effects in a Motion Picture (Michael Owens, Camille Geier, Edward Hirsh, Jon Alexander)
Writers Guild of America: Best Original Screenplay (Jay Cocks, Steven Zaillian, Kenneth Lonergan)
See also[edit]
New York City portal
Film portal
Irish Americans in New York City
Irish Brigade (US)
List of identities in The Gangs of New York (book)
References[edit]
Jump up ^ "Gangs of New York (18)". British Board of Film Classification. December 10, 2002. Retrieved October 5, 2016.
^ Jump up to: a b "Gangs of New York (2002)". Box Office Mojo. Retrieved February 27, 2017.
^ Jump up to: a b c d e f g h i j Fergus M. Bordewich (December 2002). "Manhattan Mayhem". Smithsonian Magazine. Retrieved July 15, 2010.
^ Jump up to: a b Laura M. Holson (April 7, 2002). "2 Hollywood Titans Brawl Over a Gang Epic". The New York Times. Retrieved July 15, 2010.
^ Jump up to: a b c d e Laura M. Holson, Miramax Blinks, and a Double DiCaprio Vanishes, The New York Times, October 11, 2002; accessed July 15, 2010.
Jump up ^ Rick Lyman (February 12, 2003). "It's Harvey Weinstein's Turn to Gloat". The New York Times. Retrieved July 15, 2010.
Jump up ^ Dana Harris, Cathy Dunkley (May 15, 2001). "Miramax, Scorsese gang up". Variety. Retrieved July 15, 2010.
^ Jump up to: a b c Jeffrey Wells. "Hollywood Elsewhere: Gangs vs. Gangs". Archived from the original on October 26, 2007. Retrieved December 20, 2010.
^ Jump up to: a b c d Cathy Dunkley (May 20, 2002). "Gangs of the Palais". Variety. Retrieved July 15, 2010.
Jump up ^ "Gangs all here for Scorsese". Chicago Sun-Times. December 15, 2002. Retrieved September 6, 2010.
^ Jump up to: a b History News Network Archived December 9, 2003, at the Wayback Machine.
Jump up ^ DiGirolamo's, Vincent (2004). "Such, Such Were the B'hoys". Radical History Review. 90: 123–41.
Jump up ^ "Gangs of New York", HerbertAsbury.com; accessed October 5, 2016.
Jump up ^ "Bill the Butcher", HerbertAsbury.com; accessed October 5, 2016.
Jump up ^ Mixing Art and a Brutal History Archived August 17, 2007, at the Wayback Machine.
Jump up ^ The New York Irish, Ronald H. Bayor and Timothy Meagher, eds. (Johns Hopkins University Press, 1996)
Jump up ^ Ruskin Teeter, "19th century AD", Adolescence (1995) via findarticles.com; accessed June 29, 2017.
Jump up ^ Paul S. Boyer (1992). Urban Masses and Moral Order in America, 1820-1920, Harvard University Press; ISBN 0674931106
Jump up ^ Gangs, Crime, Smut, Violence. The New York Times. September 20, 1990.
Jump up ^ Riots, virtualny.cuny.edu; accessed October 5, 2016.
Jump up ^ (RE)VIEWS: Vincent DiGirolamo "Such, Such Were the B'hoys..." – Radical History Review, Fall 2004 (90): 123–41; doi:10.1215/01636545-2004-90-123 Gangs of New York, directed by Martin Scorsese. Miramax Films, 2002, rhr.dukejournals.org; accessed November 10, 2014.
Jump up ^ Johnson, Michael."The New York Draft Riots". Reading the American Past, 2009 p. 295.
Jump up ^ Hamill, Pete. "Trampling city's history." New York Daily News; retrieved October 4, 2009.
Jump up ^ R.K. Chin,"A Journey Through Chinatown", nychinatown.org; accessed May 11, 2017.
Jump up ^ "Gangs of New York". Retrieved 6 September 2010.
Jump up ^ Gangs of New York Movie Reviews, Pictures – Rotten Tomatoes
Jump up ^ "Gangs of New York". metacritic.com. February 7, 2003. Retrieved July 10, 2011.
Jump up ^ Roger Ebert and Richard Roeper. "At the Movies: Gangs of New York". Retrieved 2002-12-20. [dead link]
Jump up ^ Paul Clinton (December 19, 2002). "Review: Epic 'Gangs' Oscar-worthy effort". CNN. Archived from the original on May 3, 2007. Retrieved December 19, 2002.
Jump up ^ Todd McCarthy (December 5, 2002). "Review: Gangs of New York Review". Variety. Retrieved 2002-12-05.
Jump up ^ "Gangs of New York negative reviews".
^ Jump up to: a b Bafta.org
Jump up ^ Chicagofilmcritics.org Archived May 15, 2012, at the Wayback Machine.
Jump up ^ BFCA.org Archived June 4, 2012, at Archive.is
Jump up ^ Ropeofscilicon.com Archived December 8, 2009, at the Wayback Machine.
Jump up ^ Las Vegas Film Critics Society Awards, LVFCS.org; accessed May 11, 2017.
Jump up ^ NYFCC.com Archived December 19, 2008, at the Wayback Machine.
Jump up ^ Rottentomatoes.com Archived February 6, 2003, at the Wayback Machine.
Jump up ^ Ropeofsilicon.com Archived January 22, 2009, at the Wayback Machine.
Jump up ^ Sefca.com Archived December 17, 2010, at the Wayback Machine.
Jump up ^ Rottentomatoes.com Archived January 24, 2010, at the Wayback Machine.
External links[edit]
Wikiquote has quotations related to: Gangs of New York
Gangs of New York on IMDb
Gangs of New York at AllMovie
Gangs of New York at Rotten Tomatoes
Gangs of New York at Box Office Mojo
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Feature films
Who's That Knocking at My Door (1967)
Boxcar Bertha (1972)
Mean Streets (1973)
Alice Doesn't Live Here Anymore (1974)
Taxi Driver (1976)
New York, New York (1977)
Raging Bull (1980)
The King of Comedy (1982)
After Hours (1985)
The Color of Money (1986)
The Last Temptation of Christ (1988)
New York Stories (segment "Life Lessons", 1989)
Goodfellas (1990)
Cape Fear (1991)
The Age of Innocence (1993)
Casino (1995)
Kundun (1997)
Bringing Out the Dead (1999)
Gangs of New York (2002)
The Aviator (2004)
The Departed (2006)
Shutter Island (2010)
Hugo (2011)
The Wolf of Wall Street (2013)
Silence (2016)
The Irishman (2019)
Short films
What's a Nice Girl Like You Doing in a Place Like This? (1963)
It's Not Just You, Murray! (1964)
The Big Shave (1967)
"Bad" (1987)
Made in Milan (1990)
The Key to Reserva (2007)
The Audition (2015)
Television
"Mirror, Mirror" (Amazing Stories) (1986)
"Boardwalk Empire" (Boardwalk Empire) (2010)
Vinyl (2016)
Documentaries
Street Scenes (1970)
Italianamerican (1974)
American Boy: A Profile of Steven Prince (1978)
The Last Waltz (1978)
A Personal Journey with Martin Scorsese Through American Movies (1995)
My Voyage to Italy (1999)
The Blues: Feel Like Going Home (2003)
No Direction Home (2005)
Shine a Light (2008)
A Letter to Elia (2010)
Public Speaking (2010)
George Harrison: Living in the Material World (2011)
The 50 Year Argument (2014)
Related
Martin Scorsese and Robert De Niro
Martin Scorsese and Leonardo DiCaprio
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gangs_of_New_York&oldid=818272532"
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