“When good people consider you the bad guy, you develop a heart to help the bad ones. You actually understand them”. In light of this quotation, explore the use of the narrative in British and American crime films, in way of mapping how crime and morality has evolved in society since the 1920s.
Crime comes in many shapes and sizes; be it violent and with intention, or simply an offence that has arisen as a result of strict liability. All criminal activity is deemed by society as inappropriate acts and deviant behaviour. Reinforced through an understanding of the term crime, ‘an action or an instance of negligence that is deemed injurious to the public welfare or morals or to the interests of the state and that is legally prohibited.’ (1) Although seen as a negative segment of society, crime has evolved over the years, adapting with various factors which allows for it to thrive.
These factors can refer to technological developments, resulting in easier detection of drugs; as well as the reshuffling of police priorities, such as specific focuses on different crimes, for example, burglaries. An important point to keep in mind, is the fluctuation of the conclusions that are drawn, on the basis that the explored factors are often regional. The real rise of organised crime began in the 1920s, dating back nine decades. In order to convey a transition in the types of crimes which have been committed since the 1920s, the assignment separates this progression of crime into three time periods, where there has been substantial changes within society.
These factors can refer to technological developments, resulting in easier detection of drugs; as well as the reshuffling of police priorities, such as specific focuses on different crimes, for example, burglaries. An important point to keep in mind, is the fluctuation of the conclusions that are drawn, on the basis that the explored factors are often regional. The real rise of organised crime began in the 1920s, dating back nine decades. In order to convey a transition in the types of crimes which have been committed since the 1920s, the assignment separates this progression of crime into three time periods, where there has been substantial changes within society.
The first being the 1920s to 1930s, referencing the films The Godfather Part II (1974), The Untouchables (1987) and The Road to Perdition (2002). The second time period is that of the 1970s to 1980s, in which the films Get Carter (1971) and Scarface (1983) will be referenced. The next substantial change in crime is captured between the 1990s and present day, where the films Layer Cake (2004), Hard Men (1996), Place Beyond the Pines (2012) and The Departed (2006) communicate what crime is like in more recent years. The selected films may not necessarily be made within the same time period they are communicating, as the time they are set can act as an appropriate reflection on the crime present in society. The study will be focused on the narrative of these films, demonstrating the different types of crime since the 1920s. There has been a range of criminal acts since the 1920s, but several key crimes come through such as bootlegging, assault, murder and the dealings of narcotics. Alongside these crimes committed by the characters is the moral issues they face, ranging from a sense of allegiance to a criminal organisation, to whether they can live with the horrific nature of the crimes themselves.
The first transition in which crime changed within society was between the 1920s and 1930s. There was a strong crime wave in alcohol related crimes, due to the contextual issue of prohibition. (2) In this time period, we witness the rise of organised crime. Individuals who dabbled in the dealing or transportation of alcohol were labelled bootleggers or moonshiners, many of whom were able to obtain vast quantities of wealth. (3) A time when crime actually did pay. It was the priority of the state to enforce the legislation regarding Prohibition through the use the Volstead Act. The main target was a notorious gangster who made his money and power from the distribution of alcohol. This gangster was Al Capone. (4) A film that encapsulates the crimes of prohibition is The Untouchables, which conveys the downfall of Al Capone and even with all his power, he neglected to see the devil in the detail. He was found guilty of tax evasion, due to the efforts of Elliot Ness and his team of Untouchables that he organised, working on behalf of the Prohibition Bureau. A quote from the film which reflects the extent of Al Capone’s crimes and the desire for the state to bring him to justice, is spoken by Malone and reads “You wanna know how to get Capone? They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That's the Chicago way! And that's how you get Capone”. Through conveying state’s desire to bring an end to Al Capone’s criminal operation, highlights the morality from the perspective of law enforcement agents, attempting to achieve a more unified society, seen by them to be the best societal state for the wellbeing of the people.
Alongside Prohibition there was still the presence of murder and offences such as burglary. These crimes are clearly demonstrated in the Godfather Part II, focusing on Vito as a younger man, as he grows older in a section of town where there are those who exploit him and the others that occupy the neighbourhood. We see this with the local businesses making payments to Don Fanucci, a man who takes a share of everyones earnings. (5) To demonstrate a reasoning for crime, the film expresses some of the dilemmas set before characters, in addition to mapping out the deterioration of any preexisting morals they have established; set for them by society in attempt to achieve a harmonious state amongst the people. When Vito is given a stash of guns to keep safe by Clamenza, he chooses to look after them, disregarding his moral obligation to report the crime. His mindset could be for the bettering of his family, safeguarding the weapons in hope of a future where he can provide for his family who are merely surviving on what money they make. This leads him to partnering with Clamenza, where they proceed to steal a luxurious rug in payment of keeping his weapons secure. It could be these smaller crimes which leads Vito to kill Don Fanucci later on in the film. This can be viewed as an expression of an already existing morality, or a change in morality in which Vito sees murder as being an appropriate means to achieving a better outcome for the neighbourhood and his family. These crimes that portray Vito as a criminal can be what causes him to finally set out and accomplish vengeance against the man that killed his mother, father and brother.
To reinforce how the actions of criminals can be from a sense of self established morality, an attempt to hold on to the things we value and perceive as right, the film Road to Perdition can be looked at. This film revolves around organised crime and the involvement of the mafia family style hierarchal structure of a crime syndicate, focusing on the relationship between a father and his son. The message to be extracted is that the life the protagonist has chosen, he knows to be wrong, a life filled with violence and revenge, but he still has hope for his son. The maintaining of his son’s innocents is what he continues to live and fight for, that is what becomes his driving force after the death of his wife and other son. This could link with the theory established by Albert Bandura known as Social Learning Theory. (6) This is the idea that we learn to adopt certain behaviour in response to the things in our environment and the things we observe. This is arguably the case that happens with most criminals, it could be that we are not born criminals, but it is the way in which we are socialised which determines our actions. Social Learning Theory may be applied to the protagonist of Road to Perdition, as he is taken in by the head of the crime syndicate, who he completes his “missions” for, as a means of providing for his family. He may also have the feeling that he is indebted to him, due to the things he has done for him. It may also be in recognition of this theory or the principles behind it, that the protagonist wishes his son a different life from that of his own.
The second time period which can be looked at which highlights a significant change in crime is between the 1970s and 1980s. In the 1970s there was a rise in crime as a result of riots that ensued across Britain and America. One of these riots was the Notting Hill Carnival riot in 1976, a response to ethnic discrimination felt by black people in a time of racial upheaval in society. (7) An example of an American riot which also affected crime rates was the New York City Riot (1977). This incurred as a result of a blackout, whereby the end of the rioting, there was a damages cost to the city totaling three hundred million dollars. Using these riots as the possible sparks to the rise in crime, the Broken Windows Theory, constructed by James Q. Wilson and George L. Kelling, can be referred to. The principle behind this theory is how petty crime can manifest and escalate if left, without addressing the problem. It focuses on the point that if there is a large building with many windows, if one window were to get smashed, all the other windows will begin to get broken by criminals, if not replaced promptly. The result being an entire building or community becoming run down. (8)
Within this time period, the continuation of organised crime is apparent, in addition to the emerging place in the market for the sale and distribution of illegal substances. The main sale of illegal substances being that of the drug cocaine. One of the biggest distribution points of this drug in the 1980s was in New York, America. This area was Washington Heights, which became known as “the drug capital of New York City” (9) A film which reflects the sale of cocaine in the 1980s is Scarface. This film is key when it comes to conveying the emotions and motivations of characters, especially with the protagonist known as Tony Montana. He begins as a young man who starts at the bottom of the crime ladder, carrying out petty crimes for petty cash. It is his ambition which drives him forward, he seeks enough money that he can support himself, his sister and his mother, without worrying about what he spends it on. After having a taste of a life of crime and the doors it can open, it is clear that his ambition shifts to a desire for the luxuries in life and to achieve the highest stage of the crime ladder. Once atop the ladder, Tony has become so used to this game he has been playing, that his sole motivations for making more and more money is just out of greed and the power he has attained. Tony’s need for always wanting more than what he has, eventually results in his death at the end of the film, when his secured mansion is stormed by a small army of men sent to kill him. These motivations which cause Tony to act in the way he does can also convey his morality, a quote from the film which is spoken in way of Tony illustrating that he knows he is a criminal reads
“What you lookin' at? You all a bunch of fuckin' assholes. You know why? You don't have the guts to be what you wanna be? 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.”
To demonstrate what morality is present in organised crime during this time period, the film Get Carter can be referenced. The storyline follows the British gangster Jack Carter, who ventures to his hometown with suspicions that his brother’s death involved foul play. This links to the values expressed within crime families, how family is seen as the most important thing above all else. On arrival in his hometown, Jack begins a personal crusade of revenge against those responsible for the death of his brother. although murder is seen as immoral in the eyes of the law, it is within Jack’s moral compass on the basis he feels it is fair retribution for the murdering of his brother. The idea that is fair terms, a life for a life. Some may argue this morality that with the taking of the lives of others on these grounds, renders you equally as guilty; which to an extent could be seen as foreshadowing with the death of Jack in the end, similarly to the resolution of Scarface. These films could link in promoting the message that when you pursue a life of crime, it will only end in death, or backfire as a result of the evils committed along the way.
The final time period to be explored which captures substantial change in crime is that of the 1990s to present day. Here there is a more prominent devision between the types of crime in society, as it is through this period of time society witnesses the rise of street crime and gang cultures. There tends to be more of an affiliation with youth and crime now, leaving the idea of organised crime to decrease or be made a lesser priority in the battle against crime. Two films which convey these developments in modern society are Hard Men, the street crime and gang culture, and Layer Cake, the high earning gangsters and organised crime aspect. Not only do the two films differ in the type of crime, there is also a more clear distinction in morality. Hard Men portrays characters without compassion and people who will kill at will, without a second thought on the matter. However, they do reflect aspects of morality on the basis they care for the protagonist and have a sense of loyalty to him, which leaves them to make a tough decision. Layer Cake draws a direct parallel in revealing the protagonist’s moral code and his motivations for his actions. Similarly to how the protagonist of Hard Men wishes to leave his life of crime to support his child. There is also the unity between him and his two partners in crime, like in Hard Men, but this time with the characters Morty and Gene. The characters, although still involved in crime, are seen to have more understandable reasons for the evils they carry out. An example of this is when Morty beats his old colleague in the cafe, not due to a simple conversational wrong (as seen in Hard Men) but for being the reason as to why he was sent to prison for ten years.
Critic reviews online can be referred to, in order to understand character motives, taking into account the views of others. It can be that they feel confident in being able to get away with the crimes, demonstrated through the protagonist’s informal rules that governs his own actions in Layer Cake. These rules can be seen as his sense of morality ‘knowing your suppliers, knowing your customers, paying your bills and never getting too greedy’. (10) Despite the morality behind characters, there is also the factor that comes into play ‘XXXX's dilemma is that he has the resources to enjoy himself, but works for people who speak a different language’. (11) It can be hard to gauge what motives drive people, but a key point that transfers from film to reality is expressed in the following extract of a critics review, ‘Craig is fascinating here as a criminal who is very smart, and finds that is not an advantage because while you might be able to figure out what another smart person is about to do, dumbos like the men he works for are likely to do anything’. This resource does have one limitation to the study, that being that most reviews present on the site are from America, which is still beneficial in analysis of their interpretations; however it would be a more accurate representation as reviews from the UK, as they are better suited in providing insight on aspects such as societal context. This would promote a greater grasp on the understanding of crime in British society.
A topic that links closely with the exploration on what justifies the actions of a criminal, is that of morality, and whether the characters themselves see the crimes they commit as wrong or immoral. One feature that ensnares people within a life of crime, not just the characters from a film, is the establishment of a hierarchal structure where those of a higher authority in the organisation can dictate to those lower down in the organisation their bidding. It is easy to take the outlook that criminals may leave their life of crime when ever they wish, but refusal of tasks or the abrupt leaving of colleagues could result in the organisation seeing the individual as a liability. This is the case for both protagonists in Hard Men and Layer Cake, where the outcomes of not bending to the will of those with higher authority is demonstrated. In Hard Men the audience witnesses the ordering of the protagonist’s death as he chooses to leave murdering and robbing, with the means to be there for his family. Layer Cake communicates the difficulties that arise when following orders, and in doing so, removes his ability to walk away from the drug trafficking, therefore rendering his personal rules as useless. This is a key point expressed in Layer Cake, strongly conveyed when the structure of a life in crime is expressed by Eddie Temple in the ending scenes, where he states “You're born, you take shit. You get out in the world, you take more shit. You climb a little higher, you take less shit. Till one day you're up in the rarefied atmosphere and you've forgotten what shit even looks like. Welcome to the layer cake son”. As Eddie delivers this line, he gazes into the window panel where his reflection is displayed, which could be used to literally convey the idea that he is reflecting on his life. The significance of this point on the hierarchal structure present in crime is emphasised through the title of the film “Layer Cake”.
To conclude, something that has been a part of civilisation ever since we as a society established order, is those who fail to abide by the legality of the state, those who create deviance and crime. The study explores this not just in the variety of the types crime, but also how the crime may be a product of its time. An aspect that goes hand in hand with those that commit crime, is what they may feel and the moral code of which they abide by. For it is up to the individual to determine their own moral compass and whether or not to follow it.
