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1. Bookie Slang
2. What Does Bookmaker Mean
3. London Bookies Odds On Trump
4. Sports Betting Site Mybookie

Miller's Crossing is a 1990 American neo-noir^[3]gangster film written, directed and produced by the Coen brothers and starring Gabriel Byrne, Marcia Gay Harden, John Turturro, Jon Polito, J. E. Freeman, and Albert Finney. The plot concerns a power struggle between two rival gangs and how the protagonist, Tom Reagan (Byrne), plays both sides against each other.

A bookmaker is more commonly called a bookie, especially when it refers to a person. The word book in bookmaker refers to a record of bets. The words bookie and bookmaker are sometimes associated with illegal betting operations, especially those run by organized crime groups. However, being a bookmaker can be done legally. Bookie meaning: 1. Informal for bookmaker 2. Informal for bookmaker 3. A person whose business is accepting.

In 2005, Time chose Miller's Crossing as one of the 100 greatest films made since the inception of the periodical. Time critic Richard Corliss called it a 'noir with a touch so light, the film seems to float on the breeze like the frisbee of a fedora sailing through the forest'.

Plot[edit]

Tom Reagan is the right-hand man for Leo O'Bannon, an Irish mobster and political boss who runs a U.S. city during Prohibition. When Leo's rival, the Italian gangster Johnny Caspar, announces his intent to kill bookie Bernie Bernbaum, Leo goes against Tom's advice and extends his protection to Bernie, who is the brother of Verna, who has begun a relationship with Leo – while also carrying on an affair with Tom.

Tom tries everything he can to convince Leo to give Bernie up to Caspar to prevent a war; he attempts to convince Leo that Verna is playing him to protect her brother but Leo will not be swayed. After an assassination attempt on Leo, Tom reveals his affair with Verna to Leo to prove that she is dishonest. Leo beats Tom and turns his back on both of them. Tom then approaches Caspar looking for work and Caspar commands him to kill Bernie in the woods at Miller's Crossing to prove his loyalty. Bernie pleads with Tom to spare him, saying 'Look in your heart'. Tom fires his gun to fake the killing and tells Bernie to run and hide.

Caspar assumes Leo's position as boss of the city, controlling the police and using them to destroy Leo's operations. Tom begins sowing discord between Caspar and his trusted enforcer, the brutal Eddie 'the Dane'. Upon finding that his men didn't actually see Tom kill Bernie, Dane takes Tom back to Miller's Crossing to see if Bernie's body is there. Tom nearly cracks as they approach the location but they find a body that had been shot in the face and disfigured by birds. Unknown to Tom, Bernie returned to town and killed Mink, who was the Dane's lover, and placed the body where his should have been. Bernie holds this over Tom's head and tries to blackmail Tom into killing Caspar.

Tom uses Mink's unknown whereabouts to convince Caspar that the Dane has betrayed him. The Dane denies it and Caspar has to decide whom he believes, and whom he will kill. In a rage, he beats the Dane before shooting him in the head. Tom then arranges a meeting with Bernie but sends Caspar instead on the pretext that he will be meeting Mink. Bernie arrives before Caspar and kills him. Tom arrives and tricks Bernie into giving up his gun, then saying they can't blame the Dane because he's already dead, and that he intends to kill Bernie in retribution for blackmailing him. Bernie again begs for mercy, saying 'Look in your heart' but Tom asks rhetorically 'What heart?' and shoots him.

With Caspar and the Dane dead, Leo resumes his post as the only boss in town. On the day Bernie is buried, Verna, having won her way back into Leo's good graces, reacts coldly to Tom and walks back to her car. Leo announces to Tom that Verna has proposed to marry him. He offers Tom his job back but Tom turns the offer down and stays behind, watching Leo as he walks away.

Cast[edit]

• Gabriel Byrne as Tom Reagan
• Marcia Gay Harden as Verna Bernbaum
• Albert Finney as Liam 'Leo' O'Bannon
• John Turturro as Bernie Bernbaum
• Jon Polito as Johnny Caspar
• J. E. Freeman as Eddie 'the Dane'
• Steve Buscemi as Mink Larouie
• John McConnell as Bryan
• Mike Starr as Frankie
• Al Mancini as Tic-Tac
• Olek Krupa as Tad
• Frances McDormand as the mayor's secretary

Production[edit]

While writing the screenplay, the Coen brothers tentatively titled the film The Bighead—their nickname for Tom Reagan. The first image they conceived was that of a black hat coming to rest in a forest clearing; then, a gust of wind lifts it into the air, sending it flying down an avenue of trees. This image closes the film's opening credit sequence.

Because of the intricate, dense plot, the Coens suffered from writer's block with the script. They stayed with a close friend of theirs at the time, William Preston Robertson in Saint Paul, Minnesota, hoping that a change of scenery might help. After watching Baby Boom one night, they returned to New York City and wrote Barton Fink (in three weeks) before resuming the Miller's Crossing screenplay.

The budget was reported by film industry magazines as around $14 million, but the Coens have said that the film cost 'substantially less' than that.^[1] According to Paul Coughlin, 'The casting of Byrne allows for the psychological assurance, self-confidence and icy demeanour to be physically reproduced in the sturdy and unruffled presence of the tall and lean actor. Tom is 'a man who walks behind a man, whispers in his ear', he is the brains behind Leo's operation, and he is the heartless centre of Miller's Crossing.'^[4] Although he was a native Irishman playing a lieutenant to an Irish mobster, the Coens did not originally want Gabriel Byrne to use his own accent in the film. Byrne argued that his dialogue was structured in such a way that it was a good fit for his accent and after he tried it, the Coens agreed; Byrne and Finney used Irish accents in the film.^[5]

During casting they had envisioned Trey Wilson (who played Nathan Arizona in their previous film Raising Arizona) as gangster boss Leo O'Bannon but two days before principal photography began, Wilson died from a brain hemorrhage and Finney was cast. Roger Westcombe calls Finney's portrayal of Leo 'perfectly nuanced in a brilliant performance'.^[6] Finney also appears in drag in a cameo as an elderly female ladies' room attendant.^[5]

The Coens cast family and friends in minor roles. Sam Raimi, director and friend of the Coens, appears as the snickering gunman at the siege of the Sons of Erin social club, while Frances McDormand, Joel Coen's wife, appears as the mayor's secretary. The role of The Swede was written for Peter Stormare but he could not be cast since he was playing Hamlet (a role often referred to as 'the Dane'). J. E. Freeman was cast and the name of the character was changed to The Dane, while Stormare went on to be featured in Fargo and The Big Lebowski.

The city in which the story takes place is unidentified but the film was shot in New Orleans as the Coen Brothers were attracted to its look. Ethan Coen commented in an interview, 'There are whole neighborhoods here of nothing but 1929 architecture. New Orleans is sort of a depressed city; it hasn't been gentrified. There's a lot of architecture that hasn't been touched, store-front windows that haven't been replaced in the last sixty years.'^[7] Principal photography ran from January 27 to April 28, 1989.^[1]

Influences[edit]

Roger Westcombe finds in the opening title sequence of a fedora being blown off its bed of fallen leaves in the forest, a subtle homage to Jean-Pierre Melville's 1963 French crime film Le Doulos, which ends with the gangster protagonist's fate underlined wistfully by the shot of his fedora coming to rest, alone in the frame, in the soil of the forest floor.^[6]

Writing in The Atlantic, Christopher Orr sees in the opening scene, in which Johnny Caspar (Jon Polito) confronts Leo O'Bannon (Albert Finney) and Tom Reagan (Gabriel Byrne) 'an obvious nod to the opening of The Godfather'.^[8]

Miller's Crossing quotes many gangster films and films noir. Many situations, characters and dialogue are derived from the work of Dashiell Hammett, particularly his 1931 novel The Glass Key. There are some parallels between the two stories and many scenes and lines are lifted from this novel. The relationship between Tom and Leo in the film mirrors the relationship between Ned Beaumont and Paul Madvig, the principal characters of the Hammett novel.^[9][4][6]

Another important Hammett source was his 1929 novel Red Harvest, which details the story of a gang war in a corrupt Prohibition-era American city, a war initiated by the machinations of the main character. While Miller's Crossing follows the plot and main characters of The Glass Key fairly closely, the film has no direct scenes, characters, or dialogue from Red Harvest.^[9][4]

Orr also notes, 'The ending of Miller’s Crossing makes even clearer reference to the immaculate final scene of The Third Man: a funeral, a protagonist abandoned by his car, who watches as the last person he cares for in the world walks away down a dirt road hemmed by trees'.^[8]

Reception[edit]

Miller's Crossing opened in limited release in New York City on September 22, 1990, after premiering at the New York Film Festival the day before.^[1] It was a box-office failure at the time, making slightly more than $5 million, out of its $10–$14 million budget.^[2] On review aggregatorRotten Tomatoes, the film has an approval rating of 92% based on 59 reviews, with an average rating of 8.15/10. The website's critical consensus reads, 'Though possibly more notable for its distinctive style than an airtight story, this Coen brothers' take on the classic gangster flick features sharp dialogue, impressive cinematography, and a typically quirky cast of characters.'^[10] On Metacritic, the film has a weighted average score of 66 out of 100, indicating 'generally favorable reviews.'^[11]

Film critic David Thomson calls the film 'a superb, languid fantasia on the theme of the gangster film that repays endless viewing'.^[12] Of Turturro's performance he says 'This could be the finest work of one of our best supporting actors'. Roger Ebert gave it 3/4 stars, stating 'It is likely to be most appreciated by movie lovers who will enjoy its resonance with films of the past'.^[13]

Miller's Crossing won the Critic's Award at the 2nd Yubari International Fantastic Film Festival in February 1991.^[14] It was nominated for the Grand Prix of the Belgian Syndicate of Cinema Critics.

Frank Moraes says, 'Gabriel Byrne does an excellent job in this film, ... this film lives and dies on his performance'.^[9] Taking particular note of the work of cinematographer Barry Sonnenfeld and production designer Dennis Gassner, Christopher Orr observed, 'Miller's Crossing is an aesthetic pleasure of the highest order on nearly every level'.^[8]

Time and Total Film placed it in their top 100 list.^[15] In 2010, The Guardian called it the 24th best crime movie of all-time.^[16]

Soundtrack[edit]

The score was written by Carter Burwell, his third collaboration with the Coen brothers. The main theme is based on the Irish folk ballad 'Lament for Limerick'. Burwell takes a traditional piece of music with some culturally relevant connection and uses it as the central motif of the broader arrangement. The main theme has been utilized in trailers for a number of other films, including The Shawshank Redemption, as well as in an ad for Caffrey's Irish Ale.^[8]

The soundtrack includes jazz tunes, such as 'King Porter Stomp', reflective of the era in which the film is set. Other songs include 'Danny Boy', sung by Frank Patterson, an Irish tenor, which is heard in Leo's house. Patterson can also be heard singing Jimmy Campbell's 'Goodnight Sweetheart' in a scene in the Shenandoah Club.

Track listing[edit]

1. 'Opening Titles' – 1:53
2. 'Caspar Laid Out' – 1:57
3. 'A Man and His Hat' – 0:56
4. 'King Porter Stomp' (performed by Jelly Roll Morton) – 2:09
5. 'The Long Way Around' – 1:39
6. 'Miller's Crossing' – 2:35
7. 'After Miller's Crossing' – 0:42
8. 'Runnin' Wild' (performed by Joe Grey) – 3:06
9. 'Rage of the Dane' – 0:05
10. 'All a You Whores' – 0:24
11. 'Nightmare in the Trophy Room' – 1:37
12. 'He Didn't Like His Friends' – 0:24
13. 'Danny Boy' (performed by Frank Patterson) – 4:05
14. 'What Heart?' – 0:49
15. 'End Titles' – 4:44
16. 'Goodnight Sweetheart' (performed by Frank Patterson) – 0:54

References[edit]

1. ^ ^abcd'Miller's Crossing'. AFI Catalog of Feature Films. American Film Institute. Retrieved September 22, 2019.
2. ^ ^ab'Miller's Crossing box office'. Box Office Mojo. Retrieved June 16, 2008.
3. ^Silver, Alain; Ward, Elizabeth; eds. (1992). Film Noir: An Encyclopedic Reference to the American Style (3rd ed.). Woodstock, New York: The Overlook Press. ISBN0-87951-479-5
4. ^ ^abcCoughlin, Paul. 'Senses of Cinema – Miller's Crossing, The Glass Key and Dashiell Hammett'. Sensesofcinema.com. Retrieved October 20, 2013.
5. ^ ^abJackson, Matthew. '13 Fascinating Facts About Miller's Crossing', Mental Floss, October 10, 2015
6. ^ ^abc'Millerscrossing'. Crimeculture.com. Archived from the original on October 22, 2013. Retrieved October 20, 2013.
7. ^Levy, Steven (2000). ''Shot By Shot,' Joel and Ethan Coen: Blood Siblings'. Plexus. p. 75.
8. ^ ^abcdOrr, Christopher. '30 Years of Coens: Miller's Crossing', The Atlantic, September 10, 2014
9. ^ ^abcMoraes, Francis. (March 17, 2010). Miller's Crossing.
10. ^'Miller's Crossing (1990)'. Rotten Tomatoes. Fandango Media. Retrieved March 9, 2018.
11. ^'Miller's Crossing Reviews'. Metacritic. CBS Interactive. Retrieved March 9, 2018.
12. ^Thomson, David (2008), 'Have You Seen...?', New York City: Knopf, p. 554.
13. ^'Miller's Crossing'.
14. ^'YUBARI INTERNATIONAL FANTASTIC ADVENTURE FILM FESTIVAL'91'. Archived from the original on April 7, 2004. Retrieved September 19, 2009.
15. ^'100 Greatest Movies Of All Time TotalFilm.com'. web.archive.org. December 22, 2013. Retrieved November 18, 2020.
16. ^'Miller's Crossing: No 24 best crime film of all time'. the Guardian. October 17, 2010. Retrieved November 18, 2020.
17. ^Miller's Crossing soundtrack album at AllMusic

External links[edit]

• Miller's Crossing at IMDb
• Miller's Crossing at AllMovie
• Miller's Crossing at Rotten Tomatoes

Bookie Slang

What Does Bookmaker Mean

According to a study by the American Gaming Association, 38 million American adults planned to bet on the 2019 NFL season. That’s 15% of the adult population, betting only on professional football. That’s a huge potential client base.

It’s nice to win bets, but the guaranteed money is in bookmaking. Once you see the profits from betting explained, you won’t want to be a gambler anymore. You’ll want to be a bookie.

What Do Bookies Do?

Before looking at how bookmakers, or bookies, get paid, it’s worth considering what bookies do. In other words, why should bookies get paid at all?

A bookie is someone who facilitates gambling. They make it possible for people to place bets by:

• Setting the odds (and sometimes changing them, but more on that later)
• Accepting and placing bets
• Paying out winnings

In popular culture, bookies are often shady figures. There are countless movies where a bookie sends some goons to break some problem gambler’s knees after he can’t pay.

Real bookies are nothing like that, especially now that sports gambling is legal in many places. Even with legal gambling, most bettors still place their wagers with local bookies. If these bookies broke knees, they would quickly lose all their customers.

In reality, a bookie is just a person who makes it possible for you to gamble. Like anyone else who provides a service, they exact a fee for it.

Betting Explained: The Vig

The fee that bookies charge is called the vigorish, or the vig. People also call it the juice, the take, or the margin. Because bookies usually don’t place bets themselves, they make their money from this extra fee they charge on every bet, win or lose.

The place you can see the vig the clearest is in the moneyline for a particular game. Let’s use a football game, Eagles versus Bears, as an example.

Suppose the Eagles are the home team and are the favorite to win the game. The point spread for the game might be Eagles -6.5. That means the Eagles must win by at least seven points for you to win your bet, or to “cover” the spread.

But, the betting line will also include the moneyline. As the favorite, the Eagles are probably sitting at -110. That means if you bet $100, you would only win $90 (in addition to receiving your original bet back). If you wanted to win $100, you’d have to bet $110.

The easiest way to think about the moneyline is the amount you would have to bet to win $100. In this case, that extra $10 is the vig or the fee for the bookie.

There is no standard vig. The most common one is -110 (in other words, an 11 to 10 advantage for the bookmaker), but that varies depending on the game, the teams, and the bookmaker.

The moneyline could even go the other way. If the bookie wanted to encourage more people to bet the Bears, they could set the moneyline at +110. That means for every $100 you bet, you would win $110.

Balancing the Book: Betting Lines Explained

Because bookies make their money from the vig, they want to encourage equal numbers of people to bet on each side of a game.

From our example, they want the same number of people to bet the Eagles and the Bears. The bookie will not have to cover any winning bets himself and can pocket his 10% profit.

With sports gambling, there are two ways a bookie can adjust which side people bet on: shifting the point spread or shifting the moneyline.

Suppose after the bookmaker set the point spread at Eagles -6.5, most people placed their bets on the Eagles. The bookmaker, seeing this, would move the spread to Eagles -7.5 or higher to encourage people to bet the Bears.

Again, the bookmaker wants to get the bets on each side close to even to avoid an unbalanced book.

On the other hand, if the bookmaker did not want to move the spread, he could shift the moneyline down to -120 or -130. Then the payout for winning a bet on the Eagles would be lower (which is the same as having fewer bets).

Bookmakers want a balanced book, so it’s imperative that they set the right line, or adjust it as more bets come in. The volume of bets helps too: the more bets that come in, the more likely the bookie will adjust the line correctly.

Because the line is so important, the biggest bookmakers will have teams of statisticians helping them create and adjust their lines. They also recognize strong, or “sharp”, gamblers and respond to those bets by shifting the lines.

Most neighborhood bookies do not set their own lines. Instead, they rely on bookmaking services or copy lines from larger bookmakers.

London Bookies Odds On Trump

What the Vig Means for Gamblers

People placing bets should never lose sight of the vig, especially if they hope to make money over the long term and not just on single bets. It changes the break-even point for betting.

With a -110 Moneyline, each time you lose a bet, you lose $100. But, each time you win, you only win back $90. Your wins are insufficient to cover your losses if you are betting the same amount each time.

In other words, the break-even percentage for winning is no longer 50%. Instead, it’s higher, maybe around 53% or 54% depending on the exact vig. Given bookies set betting lines to encourage equal play on both sides, it’s actually pretty easy to win 50% of your bets.

But, a sports gambler who wins half their bets will soon run out of money. Gamblers must win enough to cover the vig, hopefully with some profit left over.

For the Bookie, It’s Not Really Gambling

Sports Betting Site Mybookie

The nice part about being the bookie is that so long as you set the right lines, you’re no longer gambling. It’s just math: the winners and losers cancel each other out, and you pocket your fee, every time. That’s betting explained for bookies.

But, just because it’s simple doesn’t mean it’s easy. Otherwise, everyone would do it. Luckily, the right pay-per-head sportsbook service can help you start and grow your sportsbook as an independent bookie.