Images Of Crime

QUESTION: To what extent may the gangster genre be viewed as a critique of America Society?

This essay will examine the gangster genre and ascertain to what extent it can be viewed as a critique of American society. It could be adjudged that the gangster genre is not so much an evaluation but rather a criticism of American culture and society. Section one of this essay will begin with exploring the gangster genres use of the American dream to project some of its major themes. Section two will analyse the use of minority groups or immigrants as the key gangsters who are then compared with the other up-standing but ultimately corrupt people. Lastly section three of this essay will examine the connection between key characters in gangster films and the advanced capitalist system which governs America. The main objective of this essay is to highlight the extent to which the gangster genre provides evidence sustaining the argument that it is a critique of the American social structure. This essay will begin in section one with an analysis of the gangster genres comparison and criticisms of the American Dream. The American Dream is a slogan associated with America and its supposed land of opportunities where anyone from anywhere can gain success. However in the gangster genre this idea is conveyed from the illegitimate side in order to highlight the lengths and measures some people will take to gain financial achievement. It could be argued that the American dream is called a `dream` because it is in fact a myth Clarens (1997). According to Clarens gangster movies illuminate the central pattern for inspecting the inherent paradoxes of the American Dream. The American dream would have one believe that anyone can go to America and succeed spectacularly in life; the gangster genre brings a reality check to this idea. The main characters in gangster films gain success by illegal methods while other people working normal jobs are portrayed as idiots for working terrible jobs and not living life to the full: "Uh, to us, those goody-good people who worked shitty jobs for bum paychecks and took the subway to work every day, and worried about their bills, were dead. I mean they were suckers. They had no balls. If we wanted something we just took it. If anyone complained twice they got hit so bad, believe me, they never complained again" (Ray Liotta as Henry Hill in Goodfellas, 1990) Henry Hill played by Ray Liotta in the film Goodfellas exclaims how difficult he finds it to believe people live their lives by rules and an honest living. He narrates that his way of life, the gangster way of life, was answering to no one: living the American dream. On many instances in the film, Henry criticises the average people living in the neighbourhood, saying: "At 13, I was making more money than most of the grown-ups in the neighbourhood" (Goodfellas, 1990) he then continues by saying being part of the mob (Mafia) made him something special: "A somebody in a neighbourhood of nobodies" (Goodfellas, 1990) highlighting that the ordinary people in America worked jobs they hated for little money while he lived a life of luxury above the law. Yaquinto (1998) states that the gangster is a fitting metaphor for the tattered fable of the American dream: particularly among oppressed immigrants who found the dream misleading. Another gangster film which reinforces the idea that the American dream can be found wanting, especially by immigrants, is Oliver Stone`s Scarface. In the film Scarface, Tony Montana played by Al Pacino is an immigrant fleeing communist Cuba and arriving in Florida, America. Tony begins his time in America as a dishwasher but is frustrated with his menial job and life. He is then lured into assassinations for a local crime boss for large sums of money resulting in him becoming the boss`s chief enforcer. However Tony still thrives for more power and status eventually killing his one-time boss and assuming the control of a vast drug empire Yaquinto (1998). David Simon also maintains this argument when he criticises the concept of the American dream stating: "A central contradiction in American life: American culture places so much emphasis on the goal of success, of achieving the American Dream, that it tacitly endorses unethical means to that end" (Simon, 2004:16) What is being highlighted here is that the actual concept of the American dream, which is ingrained in American culture and more so in immigrants, puts so much importance on success that it actually fuels illegal methods to achieve that goal. It could be argued that the gangster genre is responsible for exemplifying the fatal flaws of America in that above all else power and success are desired by the American populace which explains the unethical means to which some utilise. Simon (2004) continues by affirming that what makes the American dream so fantasised is its openness to all, regardless of age, race, gender or education. Such is the pressure from fear of failing in America that individuals are prone to abandoning conformity and legitimate methods and embracing illegal conduct. This is portrayed in both Goodfellas with Henry Hill lambasting the average people of the neighbourhood for their lowly existence and in Scarface where Tony Montana`s frustration leads to a brutal uprising elevating him from a poor unskilled immigrant to a rich powerful drug lord. Henry Hill being of Irish/Sicilian decent and Montana of Cuban origin are both immigrants to the US, and both find power and luxury lifestyles from criminal enterprises. Following on from this essays look at the gangster genres link to the American dream will be the argument that gangster films attempt to highlight corruption from powerful, seemingly legitimate individuals. Section two will continue with an evaluation of the gangster films use of visible criminals, usually the main characters, and inconspicuous criminals, predominantly corrupt police officers, lawyers or politicians. A major similarity in gangster films is the use of minority or immigrant individuals or groups as the main criminal element but also the inclusion of corrupt individuals who hide or lie about their treachery but in actual fact commit the same crimes as the observable gangsters. This is apparent in the film `The Godfather Part II` (1974) where in the opening scene the US Senator Geary accepts a large endowment from Michael Corleone, played by Al Pacino, who is head of the Corleone crime family. In public Senator Geary pronounces the donation and thanks Michael, however in private he says: "I intend to squeeze you. I don`t like your kind of people. I don`t like to see you come out to this clean country.your oily hair and dressed up in those silk suits and you try to pass yourselves off as decent Americans. I`ll do business with you but.I despise your masquerade, the dishonest way you pose yourself" (The Godfather Part II, 1974) Geary slates Michael Corleone for his ethnicity and involvement in crime, however he is willing to accept money and even attempts to extort Michael regardless of his position as a US Senator. Michael Corleone replies to Gearys comments by saying: "Senator, we`re both part of the same hypocrisy" (Al Pacino as Michael Corleone, The Godfather Part II, 1974). From one angle there is the US Senator claiming Michael Corleone`s ethnicity and fraudulent way of presenting himself ruin the country of America, and from another angle the audience is drawn to the fact that this high ranked national Senator is taking bribes, extorting and hiding behind his position of state to gain illegal riches. The powerful reply from Michael Corleone serves to highlight the Senators hypocritical comments also conveying that both men are corrupt, however it is the Senator who is masquerading behind political power not Michael. Another example of this can be taken from the film Scarface (1983). In a drunken and drug induced rage Tony Montana exclaims injustice about the way he is perceived as the unscrupulous villain: "You need people like me. You need people like me so you can point your fuckin` fingers and say, "That`s the bad guy." So... what that make you? Good? You`re not good. You just know how to hide, how to lie. Me, I don`t have that problem. Me, I always tell the truth. Even when I lie" (Al Pacino as Tony Montana, Scareface, 1983) Tony argues that although he is a ruthless criminal he does not hide the fact or conceal himself as different; whereas he rants that the bankers and politicians are the real bad guys because they project themselves as good upstanding citizens when actually they are just as criminal as he is Scarface (1983). This is reinforced by the gangster crime literature `Pump `Em Full of Lead` written by Yaquinto (1998) who argues that: "Part of the gangster`s timeless appeal is that he gets to spout theories we try to ignore" (Yaquinto, 1998:150) articulating the idea that gangster films can be viewed as a critique of American society because they highlight major issues within the social structure predominantly corruption and wider social injustices. The felonious activities construct an image of inequality and variation of the American economic structure; the ever rising financial freedom, the obsession with status and image and its pecking order of exploiters and exploited Clarens (1997). It could be argued that these particular gangster films illustrate a main theme of American society where minority groups are predominantly represented as the criminals and as foundation problems to the US. However, the gangster genre criticises this theme by highlighting the immense level of corruption in all parts of the countries structure, especially those individuals in high positions able to exploit others and resonate the belief that the minorities and immigrants are the criminals. Lastly section three will explore the advanced capitalist system that rules America and how to a large extent the gangster genre critiques this. Sections one and two of this essay; the American dream and the theme of corruption can be linked to capitalism. Both themes discussed previously in this essay can be defined as subheadings or rather consequences initiating from capitalism. According to Wood (2004) capitalism is a method of social establishment based in relation to worth. Moreover he notes that Western society, in particular the US is so captivated with capitalism and its values of profit-seeking individualism that this behaviour is perceived as the natural way of life. Simon (2004) adds to this evidence by stating that the accretion of wealth has become so significant to Americans that restraints are not put in place on the massing of profit such as in other capitalist countries. Clarens (1997) argues that the gangster genre uses the figure of a criminal to challenge the hierarchy and structure of capitalism and business ethic. The gangster makes a successful career by illegitimate methods imitating the Americans motivation for success which is a subsequent criticism of capitalism. The irony is that the gangster achieves what American society wants to achieve by the same ruthless structure and business ethic American idolise, however illegally. It is also illustrated in gangster films that the same amount of damage and exploitation is carried out by both seemingly legitimate Americans and organised criminals. Francis Ford Coppola the director of the Godfather trilogy claims: "I feel that the Mafia is an incredible metaphor for this country," explains Coppola. "Basically, both the Mafia and America feel they are benevolent organizations. Both the Mafia and America have their hands stained with blood from what is necessary to do to protect their power and interests." (Coppola cited from Clarens 1997:125) The point being made here is that the gangster genre reflects America`s capitalist system but specifically points out the problems and consequences associated with advanced capitalism in America such as; the glaring inequalities it brings but also the incredible greed it encourages. Wood (2004) asserts that in the development of rapid consumerism people become blinded by avarice and forget its social perils. Only self-interest and accumulation of wealth seem to be consistent traits. Wood states: "Wealth has become the much sought-after goal, the cherished ideal of many people living in advanced capitalist society" (Wood, 2004:35) supporting the evidence that highlights American society`s motivation to do anything to achieve success whether legal or illegal regardless of the possible consequences. This can be interconnected to foundational narratives of the gangster genre. A foundational narrative of a gangster film story is the transformation of the main character. According to Yaquinto (1998) the central gangster character will rise to spectacular prominence and then fall horrifically until he`s finally shattered. Yaquinto goes on to say that although his elimination is usually carried out by external forces such as rival gangsters or police the key point is the seeds of ruin have already been sown within himself. This is a consistent theme derived from many different gangster films for instance; Goodfellas, Scarface and The Godfather Part II. In Goodfellas 1990, Henry Hill against the advice of the elder Mafia leader begins to use and deal drugs. At first he makes tremendous money but ultimately loses his grip and after being caught by the police turns informer against his former friends and employees to save himself. Although Henry isn`t destroyed his real punishment is what he defines as living the rest of his life as: "An average nobody" (Goodfellas, 1990) conveying his love for the luxury fast living life of a gangster and his lamentation of having to be an ordinary citizen. Henry`s life is spared but he loses everything that made him a `somebody in a neighbourhood of nobodies`. In the film Scarface (1983) Tony Montana by force assumes the leadership of a vast drug enterprise but through greed, paranoia and excessive drug use he is responsible for his own downfall. Although he is eventually killed by a rival drug lord his reckless behaviour of violence and drug abuse plus the endless greed for more power ultimately cause his ruin. Clarens (1997) states that the gangster film is used as a device to examine the tensions between economic disadvantages and the artificial promise of covetous capitalism. He relates this to the symbolic neon sign in Tony Montana`s mansion which reads `The World Is Yours`. It could be adjudged that this illustrates the idea that the world can be yours but at a terrible cost. Lastly in the Godfather Part II 1974, the metamorphoses of the main character Don Corleone from: "the archaic, relatively honour-bound order of the Don Corleone to the more pragmatic and less scrupulous regime of his younger son, who would develop the family business into an impersonal national corporation" (Clarens, 1997:278) highlighting how the rise and fall of Michael Corleone is not physical but mental. Michael`s increasing ruthlessness and guile eventually leaves him alone at the top of a vast empire, unchallenged, but ultimately living a desolate fate by losing his immortal soul. It could be argued that the gangster genres key theme of the main characters rise and fall is actually a comparison of the capitalist system which controls American society. Wood (2004) accentuates this idea when he states that the central principle of a capitalist mentality is to always drive onwards and upwards constantly pushing the boundaries of eventual deterioration and collapse. He also makes the point that: "A flourishing commercial society generates the seeds of its own destruction because of its foundation on the dynamic of avarice" (Wood, 2004:33) From this evidence it can be adjudged that the gangster film compares American society`s way of life under capitalism and makes the point that it is unsustainable. Moltby (2003) reinforces this argument when he claims Hollywood`s conveyance of the underworld serves to demonstrate crime does not pay. The gangster rises spectacularly but in the end is always eliminated whether that be physically, emotionally or symbolically. It could be contended that the message of gangster films is that the capitalist system is doomed to die. As Wood (2004) argues capitalism inspires greed and power just as in the gangster genre portrays, and just as the main character might have an initial or even long period of success, inevitably his way of life will come crashing down. In conclusion it is apparent that the gangster genre serves as an extensive critique of American society. The harsh reality of the American dream is brutally exposed as a fraudulent concept. It is conveyed that only by illegal methods can those immigrants at the bottom end of society gain power and riches. Also, the portrayal of all aspects of the social structure as corrupt, specifically police and politicians, highlights the immense level of exploitation in American culture with all parties looking to get their own. Finally both these themes can be connected to the advanced capitalism system which gives rise to success but also causes significant problems. It is clear that the gangster genre critiques the capitalism system which governs America by illustrating the potential for rapid accumulation for wealth and power but ultimately the seeds of destruction that excessive greed encourages. The gangster genre takes inconspicuous characteristics of American society and actively highlights their flaws. Bibliography

Academic Books:

Clarens, C., Crime Movies: An Illustrated History of the Gangster Genre, Da Capo Press, (1980)

Maltby, R., Hollywood Cinema: Second Edition, Blackwell Publishing, (2003)

Simon, D., Tony Soprano's America: The Criminal Side of the American Dream, Westview Press, (2004)

Wood, Neil., Tyranny In America: Capitalism and National Decay, Verso, (2004)

Yaquinto, M., Pump 'Em Full of Lead: A Look At Gangsters On Film, Twayne Publishers, (1998)

Films:

Coppola, F. F., The Godfather Part II, (1974)

Scorsese, M., Goodfellas, (1990)

Stone, O., Scarface, (1983)