The growth of Netflix as a source for older titles, along with the growing reliance of pay cable networks on older libraries of films for programming has created an unprecedented opportunity for audiences to revisit, or discover, some great films that have been lost in the clutter of the last decade of voluminous and mediocre filmmaking. Over the next few monthsI hope to occasionally highlight some titles that resonate for me years after their initial release. Most of these will be independently produced films, or at least films produced outside the studio system. Notable among these is the Coen Brothers’ MILLER’S CROSSING, the work that marks their maturation from skilled craftsmen into serious filmmakers.  I  hadn’t seen it in over ten years. Now it seems like it is in an endless programming loop on the Encore family of channels and I have watched it three times in the past couple of months.

 I’ve always had a place in my heart for MILLER’S CROSSING.  Gabriel Byrne has never been better as Tom Reagan, right hand man to Albert Finney’s gangster boss, Leo. The rest of the cast is equally compelling, with John Turturro as a sleazy hustler and Jon Polito as Leo’s rival, Johnny Casper, standing out. The story takes place in some fictional mid western, depression era city and chronicles the deadly struggle between Leo and Casper for control of the town.

MILLER’S CROSSING is often remembered for its stylized dialogue—“What’s the rumpus?” or “You gave me the high hat!”, but what has always resonated with me is the film’s focus on moral codes, or “ethics” as Johnny Casper calls them. Byrne’s Tom is a man of dignity and principal. In fact, it’s all he really has and values. Tom’s struggle to live by his own moral code is at the heart of the film and is wonderfully visualized by his obsession with his stylized hat. He even dreams about losing his hat and chasing it through the woods—one of the best images the Coens have ever crafted.