Miller's Crossing (DVD)

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Additionally, notice the emphasis on hats, the headgear the Coens use so prominently as symbols throughout the film: things like Tom's dreams about losing his hat; Caspar's complaints that he's receiving dismissive treatment, the "high hat"; and the characters' vulnerability without their hats. When Verna tosses Tom's hat away, it's like Delilah cutting Samson's hair. Note that Tom is one smart fellow playing everyone against everyone else, and that in the end there's always that hat. "Nobody knows anybody," remarks Tom, twice, "not that well." It's a good summation of the plot, where every character is shadowy and unknown, and every hat conceals what's in a man's eyes.

Over the years I've heard or read any number of interpretations of "Miller's Crossing." The most arresting ideas involve the frequent homosexual references in the film, particularly to Bernie's character, Mink's, and even Dane's. But when people begin suggesting that a liaison between Leo and Tom underlies their relationship, I have to take pause no matter how well the argument is presented. It would appear that if there's any hint of almost any idea in the film, a person can probably make a case for exaggerating it. Certainly, incest is referred to, and that may have something to do with at least one of the character's actions.

Which brings up a pet theory of my own. I believe Tom Reagan is in fact Tom Hagen of "The Godfather." No, I don't mean they're very much alike; I mean they're actually the same person. Hear me out: Tom Hagen in "The Godfather, Part I" appears to be in his forties during the 1940s, meaning he was probably born around the turn of the century. Tom Reagan is in his early thirties in the early 1930s, so the two Tom's are about the same age. Next, you've already observed the similarity in their names. Could that truly have been coincidental, or did the Coens want us to see the parallel? And you might have also observed that both Tom's are Irish and both are counselors to gangland bosses. Is it possible for Tom Hagen to have been raised by the Corleones, sent to law school, and then to have gone to work for Leo, the Irish crime boss in Chicago? When Tom leaves Leo in the end, where does he go? Back to the Corleones, I figure.

Look for cameos, by the way, from director Sam Raimi as a snickering gunman; Oscar winner and wife of the director Francis McDormand as a secretary; and star Albert Finney as a ladies' room attendant. Yes, Finney put on a black-and-white matron's frock, a wig, lipstick, and makeup for a background shot that lasts all of two seconds. It's that kind of movie.

Video:
Wide angle and long shots dominate the picture, so there's an abundance of detail in every frame. The movie's anamorphic widescreen transfer, matted from its original 1.37 aspect ratio, measures about 1.77:1 across a normal television and well captures the many shifting moods and subtle nuances of the story. Tones are often dusky, colors deep and rich, with darker areas of the screen revealing good inner definition. Images are sharply delineated, and hues are brightly represented despite the film's noir look. A few moiré effects are visible, but grain is almost nonexistent. It's basically a terrific picture to look at.

Audio:
The sound is reproduced via Dolby Digital 4.0, which does a terrific job in the front channels and almost nothing in the rear. There's a wide stereo spread left-to-right, with good midrange projection and strong dynamics. When sudden, impulsive blasts of noise come out of the silence, they are startling in the extreme. But hardly a peep can be heard from the surround speakers, not even for musical ambience reinforcement.

Extras:
The most valuable bonus is the new, sixteen-minute featurette, "Shooting Miller's Crossing: A Conversation with Barry Sonnenfeld." Here, Mr. Sonnenfeld, who shot the picture, reminisces about the film's production and what it was like working with the Coens on this film, plus "Blood Simple" and "Raising Arizona." Next, there is a series of interviews called "Soundbites," with Gabriel Byrne, Marcia Gay Harden, and John Turturro, where they, too, reminisce about their work on the film and what they think it all means. Then, there's a still gallery of production photos to look through. The extras conclude with twenty-eight scene selections and widescreen theatrical trailers for "Miller's Crossing," "Barton Fink," and "Raising Arizona." English, French, and Spanish are provided as spoken language options, with English and Spanish for subtitles.

Parting Thoughts:
I've loved "Miller's Crossing" from day one, and I think it's among the best gangster character studies ever made, albeit a bit of a tongue-in-cheek one. Yes, I also enjoyed 2002's "Road to Perdition," a much more serious look at Depression Era crime, and I would suggest that if you liked that movie, and you're sufficiently open-minded, you're sure to like "Miller's Crossing" equally well. At the moment, it may be an overlooked gem.

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