In early 1860s New York, Irish immigrant Amsterdam Vallon is released from prison and returns to the Five Points, seeking revenge against his father's killer, William Cutting, a powerful anti-immigrant gang leader. He knows that revenge can only be attained by infiltrating Cutting's inner circle. Vallon's journey becomes a fight for personal survival and to find a place for the Irish people.
In early 1860s New York, Irish immigrant Amsterdam Vallon is released from prison and returns to the Five Points, seeking revenge against his father's killer, William Cutting, a powerful anti-immigrant gang leader. He knows that revenge can only be attained by infiltrating Cutting's inner circle. Vallon's journey becomes a fight for personal survival and to find a place for the Irish people.
The film leans left by primarily critiquing nativism, xenophobia, and class exploitation during the violent formation of American society, centering its narrative on the struggles of marginalized immigrant communities against established power structures.
The movie features traditional casting that accurately reflects its historical setting, without intentional race or gender swaps for diversity. Its narrative focuses on historical conflicts and societal struggles of the era, rather than offering a critical portrayal of traditional identities through a modern DEI lens.
The film portrays Irish Catholic immigrants with sympathy, depicting their faith as a crucial aspect of their community and identity amidst brutal nativist persecution. While violence is present on both sides, the narrative clearly condemns the bigotry directed at the Catholic community, positioning the audience to empathize with their struggle.
Gangs of New York does not include any explicit LGBTQ+ characters or themes. The narrative focuses on historical gang conflicts, political corruption, and the immigrant experience in 19th-century New York, with no discernible LGBTQ+ representation.
The movie does not contain any action or adventure elements.
The film features original characters and historical figures whose on-screen gender aligns with their documented historical gender. There are no instances where a character established as one gender in source material or history is portrayed as a different gender.
The film's main characters are either fictional or loosely based on historical figures whose race (white, specifically Irish or Anglo-Protestant) is consistent with their portrayal by white actors. No established character's race was altered.
Combines user and critic ratings from four sources