American Gangster (Nov. 2, Universal) fulfills the definitions of the great American novel on the big screen.

The film represents the spirit of American life and reflects on the state, culture and perspective of the common American citizen. Frank Lucas, played impeccably by Denzel Washington, is the protagonist working to make it big as the Ray Kroc of criminal business-creating a name brand in narcotics, whose cost to society is only relative to fast-food obesity.

The free-market’s toll on traditional neighborhoods is lamented by Bumpy Johnson, Lucas’s mentor and father figure. Lucas sees that because Bumpy played by the rules, his business was not truly his own, but was controlled by suppliers and middlemen. Following the example of big-box retailers, Lucas goes directly to the source, in Vietnam and employs a corporate morality in importing the drugs in the caskets of fallen soldiers.

In the role of authority, Russell Crowe-as detective Richie Roberts, leads the few good cops in a system so corrupt that Lucas family-run operation seems the moral compass.

The specter of racism, in this case the anything-but-subtle theme, that a black man could rise above the Italian mob, also makes a necessary appearance in a film seeking relevance in post-Katrina America.

Both critics and the general public are drawn in by the rise and fall of protagonists who build empires of infamy. Audiences are infatuated with this perversion of the American dream. However, director Ridley Scott does not fall into the same trap as other films, like Blow, where the director allows the audience to sympathize too much with a man who makes his dollar at the cost of others. Gangster vividly conveys the cost of heroin, orphaned children and junkie parents, on the community that Lucas claims to represent.

Gangster seems as though it could be this year’s Oscar contender that grabs both critical praise and commercial success. It is nearly impossible to find a movie that looks better on paper.

Lead actors Washington and Crowe already have statues on their mantles. Director Scott, perhaps last of the current greats to step into the mob genre, has directed Gladiator, Black Hawk Down and Blade Runner.

The story, adapted from the real life of drug kingpin Frank Lucas, is the type that gathers awards.

Despite a few unnecessary side stories, all of these elements function at their highest in Gangster, so it is unfortunate that the film lacks the magic that could elevate it to be a great film.

While it is well-paced and interesting, the film is not the type that stirs souls. The irony is that what keeps Gangster from being a compelling film is success.

Denzel’s Lucas is a businessman who keeps it business. Gangster wants to be The Godfather but the character of Lucas has none of the grandeur of Vito, the recklessness of Sonny and no cause for the brooding vengeance of Michael.

Often, when audiences watch a villain lose himself to anger or passion, there is a wish that the character would maintain self-control, act reasonably and without ego.

Frank Lucas, is that man. He keeps it cool, quiet and profitable.

It is just disappointing that in the case of Frank Lucas, fact is not always as interesting as fiction.