King of New York is a grim depiction of the sociopathy associated with organized crime. Abel Ferrara directs a film filled with hyperbolic violence, gratuitous nudity, and a menacing mob boss. That’s a description that makes the film sound run-of-the-mill, but the movie’s cult following suggests that it’s something more provocative than that. It’s beautifully shot. Nicholas St. John delivers a compelling story. And there are several great character performances. It’s never enjoyed the consumption it deserves because its theatrical release was sandwiched between the masterpiece, Goodfellas (1990), and the epic, Dances with Wolves (1990). Misery (1990) came out a month later and diabolically took its ankles out from underneath it. However, King of New York is every bit the cinematic equal to those films.
King of New York titillates audiences by sensationalizing the drama that always accompanies organized crime. The film gives us duplicitous drug deals, broad daylight murders, and all the indulgent vice you can handle. But it’s the subtle, sinister persona that Christopher Walken presents that makes King of New York really work. He absolutely kills it (and anybody that stands in his way) as Frank White. He’s a charismatic menace with a code of ethics. “Those guys are dead because I don't want to make money that way.” Okay, Frank. That seems like a drastic solution to the problem, but you’re the boss! America’s fixation on the legendary exploits of crime bosses like Al Capone and John Gotti makes King of New York feel like therapy.
America loves mythologizing felonious delinquents. And that obsession is what makes King of New York’s exploration of criminal psychology so fascinating. We love peering into the minds of ne’er-do-wells, because I think we enjoy the feeling of moral superiority that gawking at them gives us. At one point, Frank explains, “I spent half my life in prison. I never got away with anything, and I never killed anybody that didn't deserve it.” Have you ever heard a more clever excuse for being a narcissist?! Walken projects a complexity and charisma that goes against traditional villain tropes. White is ruthless, but accepts culpability. He is a savage, but he’s also a tender lover. You’re constantly trying to figure out how a person like this can exist.
And by the end of the movie you realize that people like Frank White really did exist! John Gotti killed rivals as a matter of course throughout the 1980s. “Sammy the Bull” Gravano conspired to kill 19 people. And Vincent "The Chin" Gigante once contracted a hit on the Teflon Don himself. New York in the 1980s was no safer than the Thunderdome. The Frank White character is not based on any one person, but he’s clearly meant to represent the bloody legacy of organized crime in New York City. It’s a representation that lacks the artistry of Scorsese’s masterpiece, Goodfellas, but is no less beautiful. King of New York’s mise en scène reflects how macabre the crime situation was in NYC during the period.
With that said, the film’s cinematography is something to be celebrated. The camera work of King of New York captures the gritty, urban atmosphere of life in New York. It’s reminiscent of the industrial filth that characterized the Elephant Man (1980). King of New York uses dark, shadowy visuals to portend terrible consequences in an abysmal environment. It’s a film that certainly would have benefited from being shown in black-and-white. The film incorporates stylized shots and sequences that require no dialogue to make their point, and a black-and-white aesthetic might have actually enhanced their impact. The slow-motion scenes, the unusual camera angles, and the inventive framing incorporate a noir blueprint that screams for a black-and-white screening. But that’s just me just pontificating.
Ultimately, King of New York is a cult classic because it resonates on so many levels: the story, the cinematography, the performances! The film shines a light on the societal impact of drug addiction. It reveals the very real scourge of government corruption. And Christopher Walken just nails his role. “Well, it's a tough job, but somebody's got to do it.” This film is amazing because Abel Ferrara brings a raw and unflinching approach to written material that perfectly summates human nature. The depth of discourse that King of New York attempts to spark is just as poignant today as it was in 1990.
King of New York is currently streaming on most major platforms.