A critical examination of the way in which the gangster genre is portrayed in American and British cinema, with reference to "Goodfellas" and "Layer Cake"

A critical examination of the way in which the gangster genre is portrayed in American and British cinema, with reference to “Goodfellas” and “Layer Cake”

The media has a vital role in the characterization of the gangster genre and presents a particular image with which the audience forms certain associations and expectations. For example, the use of transport, clothing, language and weapons are key paradigms that are executed to ensure that the gangster genre is presented the way one would expect it to be. In terms of the characters and storyline, generally gangsters are presented as wealthy, respected males with the power to live life to the fullest through criminal means.

The way in which media representations of gangsters differ in American and British cinema will be examined with reference to Martin Scorcese’s 1990 film “Goodfellas” and Matthew Vaughn’s 2004 release, “Layer Cake”. The aspects that will be looked at include the overall storyline and the influence of the culture to which the gangsters belong to, with reference to the commonly held stereotypes the audience have grown to expect from this particular genre. Generally, one expects a lot of violence and deceit which often leads to the main character dying or managing to achieve some sort of redemption. Overall, there are a variety of aspects covered within this particular genre, such as themes of love, hate, friendship, betrayal, loyalty and revenge.

The first film looked at is Goodfellas (1990) directed by Martin Scorcese, a stylistic, hard-hitting true mobster story about three ‘wise guys’. The film is based upon the non-fictional book ‘Wise guy: life in a mafia family’ by Nicholas Pileggi, following the life of a gangster, Henry Hill, who turned to the FBI and entered the federal witness protection programme to avoid his enemies. This fast-moving film follows the life of a young boy growing up in the Irish neighbourhood of Brooklyn, who matures into a gangster due to outside influences. As a teen, Henry’s attraction to the higher class lifestyle of the gangsters within his neighbourhood area, show his longing to be a ‘part of them’ since a young age.

The second film is Matthew Vaughn’s “Layer Cake” which is based on the book by J.J. Connolly and centres around the character played by Daniel Craig, whose name is never actually mentioned. Craig plays a drug dealer who is looking to retire but is forced into completing one more sale, which as expected, does not go so smoothly. In turn, the audience engage themselves in a tale of much expected gangster activity and webs of deceit, which eventually lead to a somewhat predictable ending.

There are many common themes that can be identified within both films such as the “covert” guidelines that gangsters follow. There is often mention of trust issues, having to watch your back and the importance of being aware of potential police informers or those who are considered to be “sell outs”. The stigma associated with these sell outs is a well understood concept by all gangsters and there are often consequences to being a “grass” which normally involve violence.

Another important theme is the idea of a hierarchical structure of gangsters, the “main man” being on top, often with many right hand men who are readily available to do “the dirty work”. In Goodfellas, Paulie is the “Mr. Big” of the drug dealing world and Jimmy Price is the equivalent in Layer Cake. These are the men who are notorious for their hold over the drugs market and there are normally examples given of the type of violent acts they have ordered and carried out. However, in most cases there is a Mr. Even Bigger, Tommy DeVito in Goodfellas and Eddie Temple in Layer Cake. These characters are the ones who rebel against the system and overthrow the main men using the motivation of greed, basically due to the fact that they are not content with the idea of being beneath someone in the hierarchy. Although they may be successful in their attempts, they normally, predictably suffer a ruthless fate. The main character however, desperate to “get out of the game” ends up getting caught in a vicious circle of betrayal and deceit and have to take measures they normally would not have considered. In the case of Henry Hill, he “stooped” to the level of snitching on his fellow gangsters whilst Daniel Craig carries out his required tasks efficiently, one involving a murder he never thought he would be able to commit. His motivation was that he could get out once the job was done but unsurprisingly things do not pan out as he expects and he himself ends up getting shot by the least expected person. The tendency of unexpected characters to make their mark however is a well known concept in the world of gangster films and therefore, many audience members begin to suspect early on that a “wannabe” who has never been considered to be anything more than a “joker” throughout the film will eventually snap and up getting the last laugh.

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In general, gangsters are usually portrayed as streetwise, materialistic and immoral and there is always rivalry with other gangsters, which adds to the plot. There is normally a lot of involvement from the authorities and it is entertaining to watch the way in which the gangsters manage to avoid getting caught. As well as this, the rise to power and the extents to which gangsters go to for success and recognition, engages the audience as they are keen to learn how they manage to “make it.” It is also important to note that varieties of emotions are covered in gangster films and there is often a representation of the main character as being sensitive and gentle to a point. In both films the main characters narrate the story and normally begin with talking about their childhood or how they are victims of circumstance. One is immediately more understanding towards the character even though they are drug-dealing criminals. When there is a love interest present in the story, like Tammy in Layer Cake, or Henry’s wife Karen, it is noted that the main character is shown in a different light and his weaknesses become exposed. It is also common for the female leads to have a strong bond with the main character which in some cases is through genuine care and concern, but in another sense it can be troublesome for the gangster if he gets too close and the woman “sells him out” to a rival or the police.

One of the interesting factors in the media portrayal of gangsters in Goodfellas and Layer Cake is the cultural aspect. Due to the different time periods that have been captured in each film as well as the cultural background of the actual characters, there are certain differences between the way in which one expects an American-Italian gangster to look and act as opposed to a British gangster. Henry Hill comes from an Italian background and is always suited and smart portraying a rather respectful image. As well as this, the emphasis on the Italian language, the importance of family gatherings and respect for the head of the household is something that is made very clear to the audience and as hypocritical as it may appear, you empathize with the character. This is due to the fact that poor immigrant families in pursuit of a better life normally fall prey to crime and that to some is seen as a type of justification for their actions. In British made gangster films however, the characters are typically English, cockney even, and there is an underlying sense of humor with which the audience can relate to.

The dress sense used in both films show another key difference in the portrayal of American gangsters to the British. Scorcese managed to interpret the image of the mafia into the film by emphasizing their ‘over the top’ dress sense of sharp suits which are almost metallic looking, with bowler hats and shoes shined brightly. This creates the personalities of the gangsters in Brooklyn and over all New York. Their presence is known by their sense of style. The more suave and sophisticated they look, the better the respect they receive and their status as a well known ‘wise guy’ increases. In Layer Cake the dress sense seems to appear more laid back. The British may also take pride in their appearance as strong men in the ‘underground business’ but compared to the culture portrayed by Scorcese in the life of Henry Hill, Vaughn’s characters appear more down to earth, less identifiable and overall, less “flashier” than those in Goodfellas. Audiences over the years have also managed to identify Italian American gangsters with their dress sense in films, stereotyping them with the iconography that has become considerably familiar to film viewers.

Another clear aspect used in Goodfellas is the idea of the forming of a subculture as a result of the main character and his group of mobster friends being part of an ‘ethnic minority background’. This allows the audience to understand the close friendships that are formed, the sense of loyalty that comes with it and the notion that all Italians should ideally “stick together” within their society. They all understand one another, growing up in difficult neighbourhoods, experiencing racism and the strict upbringing they have endured is a vital contribution to who they are “today”.

Food is also another important signifier. In Goodfellas we find Henry and his friends cooking in prison, showing that Italian Americans show great pride in their way of preparing food. This is also portrayed well in Francis Ford Coppola’s “The Godfather”, in which the film begins with a large wedding feast, which also serves as a perfect opportunity to carry out business meetings. The significance of food is an important part of the Italian tradition and presents a certain family status within the community, as well as a sense that eating together is a contact building, bonding experience. British films on the other hand are also cultural in their own way but they seem more “down to earth” in the sense that things do not need to be lavishly done and the idea of blending in matters more than showing off or a certain image, especially since it may attract police attention. As well as this, the imagery, scene locations and use of music thoroughly emphasise the environment and are typically British with the use of standard cafes and hangouts that differ greatly to the American gangster’s swanky clubs, which normally show the main character snorting cocaine, committing adultery or using his status to control those around him who fear him and his capabilities.

The main appeal of the gangster is through the individual and the media does a good job in “selling” the character to the audience so they subconsciously build up an understanding of the reasons behind and way in which, they achieve a good life through criminal means. The portrayal of gangsters being charming but violent is something that can appeal to many audiences, as they watch them living out fantasies of being bad, but as families who stick together, both of which are presented by the gangster film. An example of this would be the scene in Goodfellas in which Henry Hill states that ‘to live any other way was nuts...those goody – good people who worked shitty jobs for bum paychecks and took the subway to work everyday and worried about their bills, were dead. If we wanted something we took it. If anyone complained twice they got hit so bad, believe me, they never complained again’. Emphasising the dull and dreary simple life so many of us yearn to avoid but end up becoming part of, in comparison to the glamorous macho life, socializing with other high- status families and members.

Even in Vaughn’s Layer Cake the drug dealer’s lifestyle, though more subtle as expressed before, does also include to a point the presence of materialism, dressing sharp, and having the women they want available to them when desired.

One of the most identifiable similarities with both films and a vast majority of others in this genre, is the existence of drugs and drug related crime. Goodfellas follows Hill’s life from the early 1950’s to the drug era of the 1970’s where his involvement in the cocaine market begins. As time passes and the film elaborates how successful he becomes, his problems within the gangster lifestyle start to become highlighted, as he eventually gets addicted to the game and attempts to conceal his downward spiralling from family and friends. Layer Cake’s Daniel Craig narrates his characters ugly trade, as being another aspect of our materialistic supply and demand culture and he is not presented as someone who partakes in drug taking. Within Goodfellas, the gangsters are shown to be able to bribe even the police, which portray the corruption that goes on, even concerning the law. This element of control is also conveyed in Layer Cake however Vaughn puts more emphasis on the clever ideas and quick thinking of the gangsters and also captures the importance of having “contacts” and the benefits that come with it. In Goodfella’s these benefits are also shown, for example when Henry Hill and his mobster friends are able to receive their own private cell areas where they continue to cook their Italian meals in luxurious conditions and even have their prison sentences cut down more than the given amount of time, all through the bribing of guards.

The mis-en-scene of the films also show a clear difference. Layer cake, set in the various locations of London, is more modern and up to date, which allows Daniel Craig to portray his character well as a British male in a typically British society. Similarly Henry Hill is placed in a typically Italian environment in America and the scenes are more extravagant and diverse in order to capture the wealth and growing status of the character.

It seems fairly evident that the media portrayal of the gangster genre differs in British and American made films. Whereas the image of a gangster in American films involves a certain element of sophistication and stereotypical mafia appearance, British gangsters are presented in a more subtle manner and there is more emphasis placed on the idea that they care more about “blending in” in order to avoid suspicion, as apposed to the lavish American life in which money and power allows one to be recognized as a respected, feared mafia member. The media have created a more threatening look for the mafia whereas a man of the same power in an English film could be presented just the same as an unsuspected English pub landlord. Although physically appearances and the overall attitudes may differ, the principles of being a gangster remain the same and it is also important to note the time zone in which these films were set. Gangsters presented in the era of Goodfella’s were recognised in their own individual way at that time so comparing their portrayal to a contemporary gangster like Craig’s character in Layer Cake is bound to vary. The societies may be set on the same foundations but the way in which a gangster could have acted between 1950 and 1970 is evidently different from today’s world in which the law enforcement agencies are considerably more “clued up” on the illegal trade markets and therefore more of a risk to those engaging in criminal activity.

The gangster genre has been around for many years now and there are a multitude of similarities between films of this category. It is due to the media’s provision of imagery that audience members are able to identify gangsters and understand how they are supposed to act and regardless of the cultural setting, the ideas remain the same to the point where one can almost predict what will potentially happen and when. Although film makers are able to keep the audience on their toes and add compelling twists to their storylines it does not alter the fact that, like most other genres, the main themes become easily identifiable and therefore contain an element of predictability.