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.


"Nobody knows anybody... not like that."   June 18, 2003
 38 out of 44 found this review helpful

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.


THE THINKING MAN'S MOB MOVIE   April 12, 2000
 34 out of 36 found this review helpful

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.


It don't get much better than this, folks.   December 21, 1999
 28 out of 32 found this review helpful

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.


Hats Off All the Way Around   April 24, 2003
 20 out of 23 found this review helpful

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.