AMERICAN GANGSTER (2007), dir. Ridley Scott

Frank Lucas (Denzel Washington) started out as the driver and doorman for Harlem mobster Ellsworth “Bumpy” Johnson, and ended up top man of New York City’s lucrative heroin industry. But “American Gangster,” which is set in the 70’s, is an American success story as much as a mob flick. Lucas gets where he does by innovating in a cutthroat business; his just happens to be in narcotics.

When the movie starts off, Frank is having a conversation with his mentor, who bemoans how the middleman has been cut out from the retail sector. Ironically, shortly after “Bumpy” passes away, Lucas will build an empire doing just that: buying directly from the supplier. Thanks to a connection in Thailand, he gets his hands on pure-grade heroin, which is far more potent than the watered-down smack being sold by the Italian mob. Soon, Frank has a stranglehold on the industry, but that doesn’t stop wannabe middlemen (led by Josh Brolin’s dirty cop) from demanding a cut before the product reaches consumers.

Plenty of business-related terms and phrases are bandied about in “American Gangster.” Lucas’ heroin, labeled “Blue Magic,” comes in a distinctive package, and when a rival hoodlum cuts it down to re-sell, leading to some overdoses, Frank accuses him of “copyright infringement.” In another scene, an Italian mobster disapproves of Frank’s monopoly on the trade, comparing it to other regulated industries. Finally, Lucas makes a fortune selling a better product for less than the competition, which is how countless American companies in other industries made their mark.

Frank even indulges in the American tradition of nepotism, moving his brothers and cousins from North Carolina to Harlem. This has mixed results, but the familial bonds allow sit-down meals to be conducted like boardroom meetings, even though Frank has to occasionally steal away to kill other gangsters in cold blood.

The movie also spends roughly half its running time with Richie Roberts (Russell Crowe), a New York detective so honest, he turns in one million dollars in unmarked bills discovered during a bust. This makes him an urban legend, but a pariah among the NYPD’s mostly corrupt narcotics officers. “If a cop turns in this kind of money, it sends a message he’s willing to turn in dirty cops,” his partner (John Ortiz) warns him.

Initially, Roberts’ personal life is spiraling downward as Lucas steadily climbs to power. On the one hand, it illustrates the two characters’ contrasting natures: Lucas may be a drug dealer, but he’s also a devoted family man who buys his mother a mansion as soon as he hits the big time. Roberts, meanwhile, cheats on his wife, has to go to court to fight for his son, is being disassociated by both his precinct and partner, and even has old buddies working in organized crime.

But personal morals and business scruples do not necessarily go hand-in-hand, and both men, the movie seems to argue, are rebelling against the same thing: the mafia and police who aid and abet the drug trade so they can shake it down for cash. In other words, the status quo that heretofore made lots of money for those atop the pyramid. Roberts’ pursuit of Lucas culminates in a face-to-face meeting between the two characters as well as mutual respect that feels genuine.

Overall, “American Gangster” is a well-made film, with the period details one expects from director Ridley Scott. The story takes place during the same time period as another famous New York City crime film, "The French Connection", but there’s less emphasis on action and more on character development. Steve Zaillian’s screenplay also makes an interesting comment on race, since even Detective Roberts takes a long time to be convinced a black man could rule the heroin trade. It’s exactly these kinds of innovations that make the movie succeed as a crime film, a drama, and maybe something a little more, too.

Overall rating: **** (out of ****)