Skip to comments.What Gangs of New York Misses
Posted on 01/14/2003 3:57:12 PM PST by aculeus
Director Martin Scorceses violent tale of gang warfare in nineteenth-century New York ignores the dramatic transformation of the citys Irish underclass into mainstream citizens. | 14 January 2003
In 1842, accompanied by two policemen to ensure his safety, Charles Dickens visited Gothams Five Points slum, at the corner of what today are Worth, Baxter, and Park Streets behind Manhattans Supreme Court building, and found it loathsome, drooping, and decayed (see A Travellers New York, 1842, Autumn 1994). The area boasted some 17 brothels and countless saloons; for dark-side amusement and thrills, Five Points was the place. Davy Crockett remarked after a trip through the neighborhood that he would rather venture into Indian Country than ever return there. Irish-born John Hughes, the first Catholic Archbishop of New York, described Five Points predominantly Irish residents as the poorest and most wretched population that can be found in the worldthe scattered debris of the Irish nation. In addition to the Irish, residents included blacks, Chinese, French, Germans, Poles, and Spaniards. It is this troubled neighborhood and its people, the beginning of the New York melting pot, that director Martin Scorcese seeks to bring back to life in his major new movie Gangs of New York, a chronicle of gang warfare between Irish immigrants and anti-Catholic, anti-immigrant natives, or nativists.
... The big problem with Gangs of New York, however, is not DiCaprios weak performance. Its that Scorcese, by concentrating solely on nineteenth-century gangbangingand turning it into grand guignol theater of violencemissed a wonderful opportunity to show what was actually taking place in mid-nineteenth century New York. The hordes of immigrant Irish had by then become the nations first underclass, of which gangs like that headed by Neeson were symptomsas were the 1863 draft riots depicted in the movie, a disgraceful, Irish-led, anti-black pogrom, sparked by opposition to the draft instituted during the Civil War. Over a century later, the association of an urban underclass with urban riots became even more familiar.
While Scorcese has Butcher Cutting express some of the periods nativist sentiment, the movie makes no effort to show who the nativists really were. They werent simply an early version of the twentieth centurys Ku Klux Klan. Unlike the Klan, whose ranks consisted overwhelmingly of uneducated, low-income whites (like Cutting), the nativists included among their number some of Americas elite leaders and thinkers. Indeed, the nativists anti-Catholicism had a long history among American elites. Some of the countrys founders believed that Anglo-Saxon culture was basically identical with Western Civilization. Catholicism, in their view, was incompatible with democracy and religious freedom. As a delegate drafting the New York State Constitution, for example, John Jay successfully pushed for an amendment forbidding practitioners of religions with leaders located beyond American shoreslike, say, the pope in Romefrom becoming U.S. citizens (the federal government eventually took over the responsibility of granting citizenship, rendering such state restrictions void). Fear that the pope was telling American Catholics what to do and think characterized the opinions of elite figures like John Quincy Adams, Samuel Morse, and P. T. Barnum, and continued right up to the presidential election of John Kennedy, who during his campaign had to promise a group of Protestant ministers that he would be faithful to the U.S. Constitution.
On the lowbrow side, some nativist Protestants believed that the Catholic Church was the Whore of Babylon, an instrument of Satan, and that the pope was an anti-Christ. Protestant minister John S. Orr, known as Angel Gabriel to his followers, spoke to crowds of thousands in front of City Hall, advocating the casting of the Irish and the Catholic Church out of the city and into the Atlantic.
In addition to anti-Catholicism, many nativists also believed in Aryan supremacyand the Irish werent Aryans. Famed cartoonist Thomas Nast regularly depicted the Irish as subhuman apes. In 1851, Harpers Magazine described the Irish physiognomy in the same unflattering terms. A few years later, the brothers Orson and Lorenzo Fowler published a New Illustrated Self Instructor in Phrenology and Physiology that reinforced ideas about Irish genetic inferiority. This pseudoscientific view of the Irish was influential right through the end of the nineteenth century.
Many Americans fell prey to this destructive, racist form of thinking because of what they were seeing of the Irish underclass in mid-nineteenth century New York. Prostitution was rampant. The Irish immigration of the 1840s was some 60 percent female, most of them single, and many of these newcomers soon found themselves on the street. Ronald H. Baylor and Timothy J. Meagher report in their book, The New York Irish, that the prostitute population jumped from 11,000 in 1839 to 50,000 ten years later, and these nymphs of the pave, as people called them, were mostly young Irish girls. But it wasnt just prostitution: venereal disease, alcoholism, opium addiction, child abandonment, infanticidethe New York Irish suffered crippling levels of social pathology.
The criminals of the city were almost all Irishmenand they were far from the strapping, well-fed, hard-partying swells that Scorcese depicts as his gang members. The police cart that hauled away prisoners became the paddy wagon because it invariably transported Irish hoodlums. Irish gangs consisted mainly of tattered, hungry, dirty, abandoned Irish boysmany of them the offspring of nymphs of the pave like that played in the film by Cameron Diaz. Their lives were short, as Scorcese showsand also, as he does not show, nasty and brutish. Faced with these grim realities, much grimmer than Scorceses fairytale fantasy, it should surprise no one that many wanted the Irish out of the cityand the country. In 1854, the anti-immigration Know Nothing Party captured 75 seats in Congress.
In a vicious circle, religious and ethnic discrimination was causing growing problems for New Yorks Irish, while the destructive behavior of New Yorks Irish fed growing religious and ethnic discrimination.
It took a charismatic religious leader to lead the Irishand the nationout of this destructive circle. Dagger John Hughes, an Irish immigrant gardener who became the first Catholic archbishop of New York, makes only a silent cameo appearance in Gangs of New York, looking like a refugee from The Godfather; but in the real world, he catalyzed a remarkable cultural change that would liberate Gothams Irish from their self-destructive underclass behavior, so that within a generation they began flooding into the American mainstream (see How Dagger John Saved New Yorks Irish, Spring 1997). Its a shame that Scorcese didnt find a bigger part in his film for this brilliant, complex, and extremely effective man. (Given Hollywoods usual hostility to religion, however, Scorceses treatment of religion in the film is surprisingly sympathetic.)
Hughes emerged as an aggressive champion of Irish and Catholic civil rights. Confronting a Methodist minister whod been detailing the history of Catholic Church misdeeds in Europe, he charged: Yours sir, is a young religion; there are no misdeeds in your past, but no glories either. He never tired of telling Protestants that it was the Catholic Church that had given the world the modern university, organized philanthropy, the hospital, and the Wests greatest music and art. He reminded listeners that it was Protestant England that crushed religious liberty in Irelandoppression that had victimized his family, who had come to America for its freedom of conscience. Hughes remained enthralled with Americas great potential to be a land of pluralism and tolerance. As a 19-year-old manual laborer in 1819, shortly after arriving in the U.S., Hughes had written a poem attacking slavery as out of keeping with Americas true greatness. (This is a point Scorceses film, with its failure of historical imagination, misses: the Civil War was not simply an occasion for the WASP power structure to draft poor Irishmen to die on the battlefield but an intensely moral struggle to free the slaves, in which Americans of all backgrounds gave their lives.)
Yet if Hughes attacked religious and ethnic bigotry, he also recognized that the dysfunctional behavior of New Yorks Irish was more destructive than the discrimination against them. After all, he knew that German immigrants, 40 percent of whom were also Catholic (the majority was Protestant, with a small minority of Jews), were almost immediately successful upon arriving in the country, even though most had come to America with no more money than their Irish counterpartsthough they did arrive as intact families to a much greater degree than the Irish. German Catholic immigrants did not experience anything akin to the troubles of Irish Catholics, proving that the source of Irish difficulties was not simply their religion or that their ancestors werent English. Tellingly, there are almost no reports of German gangs in the historical period that Gangs of New Yorkboth the movie and the 1928 book by Herbert Asbury on which it is basedportrays.
The Irish badly needed rescue, then, and Hughes set out to be their rescuer. Religious renewal would be his chosen means of salvation. When asked what he was going to do about the Irish problem, Hughes replied curtly, We are going to teach them their religion. England had sharply curtailed the teaching of Catholicism in Ireland, so the rural Irish who came to America had almost no religious training. Scorcese accurately shows the dominant Catholicism of the New York Irish as a kind of ritualistic superstition; St. Thomas would not have recognized it. This degraded Catholicism could not long resist the worldly temptations of Five Points.
Hughes was fortunate to have more than his own considerable talent to rely on in reforming the New York Irish. The Oxford movement in England had resulted in the conversion to the Catholic Church of a number of brilliant and talented individuals, most famously John Henry Cardinal Newman. In New York, the movement had an even greater influence, leading several highly educated Protestants to convert to Catholicism. Many of these high-profile convertsLevi Silliman Ives (see Once We Knew How to Rescue Poor Kids, Autumn 1998), James Roosevelt Bayley, Elizabeth Boyle, Isaac Hecker, James McMaster, and othersoffered to help the Irish; Hughes astutely availed himself of their services. Hughes also developed close relationships with WASP politicians like William H. Seward, the Whig Governor of New York. Many WASPs shared Hughess vision of a pluralistic America and felt that a large numbers of immigrants would speed the economic development of the country. They understood that with the help of immigrants, the U.S. could become the greatest economic power the world has ever known, and its greatest democracy. Too bad that Scorcese treats all WASP politicians and philanthropists as naive buffoons, without recognizing the value of their efforts to uplift the newcomers, very much an American tradition.
With the help of WASP pols and his talented converts, Hughes launched a series of what today we would call faith-based initiatives. These charitable initiatives, which often received government funding, aimed at everything from fighting alcoholism and promiscuity to boosting economic development and the self-esteem of Irish women. The initiatives drew on the power of faith to call people to personal responsibility. A life devoted to the Ten Commandments, Hughes recognized, would lead people to be responsible in their sexual conduct, to care for their children, to respect the elderly, to minister to the sick, to be financially responsible, and to live disciplined livesa recipe for individual and communal success.
Hughess efforts proved astonishingly successful. In less than a generation, the New York Irish moved from being criminals to being the policemen and prosecutors who put the bad guys behind bars. In the mid-nineteenth century, New York Irish women had a reputation for promiscuity. By the end of the century, people chided them for being puritanical. By 1890, two-thirds of the schoolteachers in the citys schools were Irish women. Temperance societies in every parish convinced most of the women and some of the men to abstain from alcohol. By 1880, when banking and shipping magnate William Grace became the first Irish-Catholic mayor of New York, people viewed the Irish as a churched people. Some, like Grace, had accumulated significant wealth; many more had entered the middle class; few resembled the violent, drunken, aimless citizens of 1860s Five Points.
Hughes and his allies won a monumental struggle with the nativists. If they hadnt won, the mass immigration of the late nineteenth and early twentieth century might not have happened, because opposition to newcomers would have continued to grow, and the nations openness might have closed. America would have looked in the twentieth century like a gigantic WASP version of Japan. John Hughes is an American figure of major historic proportions.
Today in inner city America, of course, we have another underclass, this one largely African-American. Since the civil rights revolution of the 1960s, many barriers to black advancement have come down, and the nations blacks have made considerable progress in many areas. Almost everyone would agree that the nation has more work to do to remove racist attitudes and racial discrimination. But what is also holding some blacks back is the explosion of out-of-wedlock births among African-Americans over the last several decades. As the data conclusively show, children born out of wedlock have an exponentially greater chance of living in poverty, committing a crime, doing poorly in school, going to prison, taking drugs, and suffering from a host of other problems than do children born to a married couple. Good schools mean little if a child has no interest in education; economic opportunity means even less if a child isnt raised in a culture where the day after tomorrow matters.
In other words, culture is key. As Alcoholics Anonymous or any psychiatrist understands as well as Hughes, people often have problems that they can only solve by changing their inner self and accepting the idea of personal responsibility. Thats why faith-based initiatives, with their emphasis on inner transformation and individual accountability, help produce the kind of responsible citizens any freedom-loving democracy needs. They have been an important means for social progress throughout U.S. history, and theyve often received government help in carrying out their mission. It has only been in recent decades that the courts have prevented government from enlisting this aid.
President Bush has proposed a program through which government would again provide support to faith-based initiatives for the purpose of solving social problems. Arrayed against these initiatives are the new nativists: the cultural Left, including the New York Times, the A.C.L.U., liberal justices, and a number of left-liberal elected officials. Unlike their nineteenth century predecessors, they dont want the Catholic Church cast out of the country. Instead they want all religion cast out of the public square.
On December 30, 2002, the Times published an editorial entitled using tax dollars for churches. The editorial asserted: It is clearer today than ever that one of Americas greatest strengths is that we are a nation in which people are free to practice any faith or no faith, and the government keeps out of the religious realm. This is a tradition that has served America ever since its founding. There is no reason to tamper with it now.
This is revisionism worthy of Walter Duranty, the Pulitzer Prizewinning Times correspondent in Moscow who, when the Soviet government precipitated a famine in the Ukraine that killed at least 5 million people, blatantly denied the existence of the starvation in his dispatches to his editors back in the states. In 1871, the Times published an editorial arguing that government support of Catholic Charities was out of proportion to the trifling sums granted Protestant institutions. How long will Protestants endure?, the Times worried. The Times has gone from arguing lets give the Protestants more to lets give nothing to religion. The fact is, nineteenth century Americansthe Times includedunderstood religions essential role in fighting social problems.
For most of its history, government has helped religious institutions when they perform activities that help the country as a wholeand that secular service should be the test as to whether a faith-based institution (or, for that matter, a secular one) receives taxpayer support. In truth, the new nativists dont like the moral teachings of traditional Judeo-Christian religion, and they want those teachings to disappearregardless of how much that hurts America.
Martin Scorseses Gangs of New York only briefly depicts the role that religiously motivated people were playing in trying to help the citizens of Five Points during the 1860s, and doesnt show at all the crucial fact that their efforts were gradually changing the culture.
A Roman general, when his officers dragged the leading actor of Rome before him, after they caught the actor sleeping with the generals wife, said, Dont kill him; let him gohes only an actor. We should forgive Scorsese for missing an opportunity. After all, hes only a Hollywood director. And perhaps we should ignore the New York Times as well. After all, it is only the paper of Walter Duranty.
From John Hughes to Bernard Law ... ugh.
On top of that, the movie had a gratuitous "token Negro," class warfare nonsense, and blatant Protestant bashing. FReepers, save your money by avoiding this horrid movie and contribute to the latest fund drive for this Web site!
Yes. Next question, please.
The story may be sordid, it may even be slightly degenerate to some extent. One saving grace though,both in these books and the film, is that what they have in common is that the imagery is absolutely superb . It is many, many years, since such a re-creation of a scene long gone, has its equal in movie making.
Worth seeing for that alone. Yes, the Irish have come a long way. I seem to remember as a kid a 1940's movie, with the St Patricks Day parade. Judy Garland gave it all she had, singing. It's a great day for the Irish. Fortunately we were given a legacy by the photographer Jacob Riis (sp) which tend to bear out something of the despair of the immigrant, even thirty years or so later.
Jacob Riis, spelling is right, chronicled life in New York of the 1890's some thirty years after the draft riots. Gangs should be seen, be prepared though for a lot of violence etc.
Stern may know about the history of immigration, but needs to catch up on Civil War history. From Paul Craig Roberts --
The South wanted out of the Union because the tariffs that protected Northern manufacturers were a drain on Southern agricultural incomes. It is true that there were bloody-minded abolitionists in the North and hotheads in the South, but the Civil War was not fought over blacks.
The war was more than half over when Lincoln, reluctantly and under great pressure from the Radicals, issued the Emancipation Proclamation, a lukewarm document that freed only certain slaves in certain states. Freeing the slaves was a special project of the Radicals and abolitionists, a goal they accomplished only after the war's end. But "historians" like Stern will perpetuate the same myths forever.
Some of the Irish in New York City were sympathetic to the Confederacy, as Ireland's desire to break away from the United Kingdom resembled Dixie's desire to secede from the United States. Also, Southerners saw themselves as the successors of the English Cavaliers, who were allied with the Irish Catholics on the Royalist side during the English Civil War. The Anglo-Protestants of the Northeast were, to a considerable extent, the descendants of Puritans who sided with the Roundheads, the Royalists' opponents. None of this was depicted. Indeed, the nativist leader played by Daniel Day Lewis was shown as anti-Lincoln and pro-slavery while DiCaprio's Irish gang boasted its very own "token Negro." In fact, most Know-Nothings became Republicans after their movement collapsed.
There are other examples of PC thought in this movie. "Faith based" social help is shown as hypocritical and obtuse, as reflected by DiCaprio's snotty attitude toward it (tossing a King James Bible he received at an orphanage into a river; telling a Protestant minister running a charity dance to "go to hell" when he mentioned when services were held). When Cameron Diaz engages in theft, or Leonard DiCaprio and his friend steal the prized possessions of a fellow Irish immigrant whose home caught fire, their poverty and oppression, of course, justify their thievery.
What production qualities were in the movie, as well as Daniel Day Lewis' performance, are outweighed by the miscasting of DiCaprio and Diaz, the historical inaccuracies, and the leftist ideology in the story.
Bandits' Roost, c. 1890
Jacob A. Riis
Hand-colored glass lantern slide
The Jacob A. Riis Collection, 220.127.116.11
Why would Scorsese want to depict 17th and 18th century trends?
I think you're the one propagating a myth. Smith swept the states of the Old Confederacy, where Catholics were about as plentiful as hen's teeth. Hoover kicked Smith's crooked butt in the rest of the nation (including the heavily catholic Great Lakes states and Northeast.
NB. Of course, the Klan intensely disliked Smith, but by the 20s, they were strongest in the midwest, not the South. And there were a few southern states that Smith lost in 1928, but in general, your observation is right.
I posted this not as a movie review (and cut a couple of paragraphs that referred to it) but because of Stern's comments on John Hughes. His other column, linked in #6, gives more details about this man, an under-appreciated hero.
It was a confused mess with no point of view except anarchic violence.
As the writer makes clear: some things never change. Don't look to the fourth estate (the press) for wisdom, nor to the fifth estate (or fifth column) i.e. the entertainment industry.
But where are those men of God and the streets like John Hughes or William Booth ?
BTW, you have mail. :-)
Sorry to hear about your server. :-(
I don't know WHY Scorses fiddled so with the facts. It didn't make this movie " better ". As to the cast...there aren't any good American actors/actresses anymore. BTW, DD-L REALLY got his nose broken, in one of the filmed fight scenes and went right on fighting. SOME OF THE GORE IS REAL AND NOT MAX FACTOR PANCROMATIC BLOOD #5.
There's a new book out " THE FIVE POINTS ", which I am going to get and read ASAP. :-)
This article appears in the current issue of City Journal, published by The Manhattan Institute.
In addition to defending poor Catholics, the future Archbishop Hughes was also founder of Clemenza's alma mater in the then rural Bronx. There is a nice statue of him in front of the old Rose Hill Estate (now the administration building). Although the neighborhood around it has changes, the university remains a "green" campus just as it was when Dagger John founded it (the dorm I lived in was built shortly before the Civil War).
In the university's early years, a frequent visitor to John Hughes and the other Jesuits was a writer who lived in a small cottage nearby, one Edgar Allen Poe.
OK. The Five Points was cleared for an early version of "urban renewal" in the 1880s. The northern boundary of the neighborhood was where Columbus Park is now, at the end of Mulberry Street between Little Italy and Chinatown. The courthouse marks the southern boundary of what was once the neighborhood. The Bowery is a little to the East of where the five points once were.
What's " KITCHEN CONFIDENTIAL " about ?
THIS WAS A TOTAL LIE!!! The Germans DID NOT participate in the draft riots and were, in fact, staunch supporters of the Union cause (which got them in trouble when they settled in places like Kerrville, Texas). As for the Poles, THERE WAS NO LARGE POLISH POPULATION IN NEW YORK IN THE 1860s. The few Poles that were in this country were in Panna Maria, Texas. The large wave of Polish immigrants came in the 1880s-1920s and, in any case, preferred places like Chicago, Cleveland and Pittsburgh (to say nothing of Northern New Jersey, where Clemenza's paternal family settled) over NYC.
BTW: Taxi Driver is my favorite movie of all time. As for Con Air what a bombastic load of Jerry Bruckheimer produced sh-t!