Scorsese. He’s the highest rated living (and active) director on the list! In some ways Scorsese is the easiest to discuss (I’ve seen each of his fiction films twice (aside from Silence) and I’ve written about him and discussed him so often. On the other hand, in some ways, he’s one of the toughest because he is still working and therefore hasn’t been a lot of time to reflect. He’s made 24 feature fiction films by my count and the last 22 have been archievable- prolific and consistent. Remarkable. Scorsese’s case is really two fold—1. Those trio of films at the top—get this—since 1976 (Taxi Driver) Scorsese has made 3 of the best 10 films…. Pause…. 2. The depth of quality- Scorsese is a perfectionist so there’s never a lackluster effort- the images below from his 8-10 best films (Shutter Island, King of Comedy, Aviator) are incredible—but you could grab some from films like After Hours, Kundun and Gangs of New York as well.
Best film: Raging Bull. I’ve really never wavered here but I don’t get angered when someone argues for Goodfellas or Taxi Driver (which gets better every time I see it). I think Raging Bull is now a top 5 all-time film. It’s the best film really since Apocalypse Now (of the 80’s, 90’s and 21st century). It’s masterful and features some of the best editing of all-time (the in-ring editing, camerawork and editing—my god), one of the most beautiful films of all-time (those opening credits), and the best single performance of all-time. Tough to beat that.
Here’s a snip I found from De Palma
“And during the shooting of ‘Scarface,’ ‘Raging Bull’ comes out. And so he goes and sees ‘Raging Bull’ at the theater, and it just starts off with that opening credits shot. Of that classical music playing and the big, wide shot of the ring and Jake Lamada there just bouncing in slow motion in his robe. ‘No matter what you do, no matter how good you are, there’s always Scorsese. There’s always Scorsese challenging you right there.”’
total archiveable films: 22
top 100 films: 3 (Raging Bull, Goodfellas, Taxi Driver)
top 500 films: 7 (Raging Bull, Goodfellas, Taxi Driver, Mean Streets, Casino, The Departed, The Age of Innocence)
top 100 films of the decade: 10 (Raging Bull, Goodfellas, Taxi Driver, Mean Streets, Casino, The Departed, The Age of Innocence, King of Comedy, Shutter Island The Aviator)
most overrated: New York, New York according to TSPDT is Scorsese’s 8th best film and #773 of all-time. I think I’d have it around his 15th slot at best.
“priest’s eye view” ceiling tracking shot at the end of Taxi Driver
most underrated: The Leo era— Are they as good as the De Niro films (which Pesci had a big hand in 3 of)? No. But they are officially underrated at this point. Scorsese has 9 in the top 1000 of all-time on TSPDT and not one from the brilliant collaborations with Leo? Shutter Island is the most underrated of those. Robert Richardson’s work as DP with Scorsese here makes for some of the best photography in the 2010’s decade.
gem I want to spotlight: Mean Streets. Without the proper context you’ll see all the flaws here and nothing but. It’s not Scorsese’s debut (it’s his third film), and it doesn’t have the polish of The 400 Blows or Breathless but the American New Wave of the 70’s is real and this film is a landmark. The best points in this film (the wonderful opening voice-over by Scorsese himself, the pop/rock soundtrack, the triple-editing technique (same image zoomed-in with short ellipsis), the “rubber biscuit” song scene with the reverse POV) are all breathtaking. Scorsese is throwing 100 mph and even if it doesn’t all land it’s superior to almost everything else out there before and after. How about the lighting in the bar? The slow-motion track in on Keitel at the bar? This film, stylistically and thematically (Keitel is Liotta, De Niro is Pesci) is a rough draft of Goodfellas. For the longest time I held this against Mean Streets but don’t make that mistake like I did- it’s a masterpiece- it’s just not a top 20 film of all-time like Goodfellas. So what.
stylistic innovations/traits:
This feels really dumb to try to put into a paragraph. Scorsese is a brilliant stylist as I said and is also a great student of film so he not only has his own voice but borrows from some of the best of cinema. In Goodfellas alone he has one of the greatest single uses of freeze-frame (hello Truffaut and the French New Wave), open narration (Jules and Jim again), The Great Train Robbery (final shot of Pesci pointing at the camera), a pop/rock soundtrack that is second to none and amongst the great tracking shots of all-time (Copacabana scene)—and a rival of that is the “priest’s eye view” ceiling tracking shot at the end of Taxi Driver. His films are directed with stylistically motivated energy. Taxi Driver borrows form Bresson and The Searchers. The Departed recreates the beautiful finale from The Third Man. The signature triple-edit is from Varda’s Cleo From 5 to 7. Scorsese’s influence with slow-motion tracking shots set to pop/rock can been seen in everyone from PT (Boogie Nights) to Wes (Royal Tenenbaums) and how about that cutaway in Tarantino’s Reservoir Dogs that matches the one from Scorsese cutting away from Travis Bickle on the phone to show an empty hall? So Scorsese has influenced Wes, PT (PT takes the high and low musical peaks and violent breakouts from Taxi Driver and puts them in Punch-Drunk Love as well) and Tarantino. Scorsese’s subjects and themes are ruminations on masculinity and morality.
top 10
- Raging Bull
- Goodfellas
- Taxi Driver
- Mean Streets
- Casino
- The Departed
- The Age of Innocence
- Shutter Island
- King of Comedy
- The Aviator
By year and grades
| 1973- Mean Streets | MP |
| 1974- Alice Doesn’t Live Here Anymore | R/HR |
| 1976- Taxi Driver | MP |
| 1977- New York, New York | R |
| 1980- Raging Bull | MP |
| 1982- King of Comedy | |
| 1985- After Hours | R |
| 1986- The Color of Money | R |
| 1988- The Last Temptation of Christ | R |
| 1990- Goodfellas | MP |
| 1991- Cape Fear | R |
| 1993- Age of Innocence | MS |
| 1995- Casino | MS |
| 1997- Kundun | R |
| 1999- Bringing out the Dead | R |
| 2002- Gangs of New York | HR |
| 2004- The Aviator | MS |
| 2006- The Departed | MS/MP |
| 2010- Shutter Island | MS |
| 2011- Hugo | R |
| 2013- The Wolf of Wall Street | R/HR |
| 2016- Silence | R |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
« And during the shooting of ‘Scarface ». I heard the same story (in Blow Up,YouTube show) from Tarantino but during the shooting of Blow Out (1981).
Of course the work with Leo is underrated but it’s funny,i think that you underestimate the best Marty-Leo movie : The Wolf of Wall-Street.
For me,this is a masterpiece. The mise en scene,the acting,the cinematography,the editing. This says it all,all Marty’s career is in The Wolf… Un film-testament as we said in France.
Thanks KidCharlemagne– yeah the “blow up” time frame would be closer to “raging bull” so that would make more sense. I’m sure Tarantino is remembering it wrong as this article is an interview he gave about the movie brats (de palma/scorsese) and he’s retelling de palma’s story.
Yeah i just don’t see it with “Wolf of Wall Street”— the only one i’d agree with here is the acting. i don’t see the mise-en-scene brilliance, the camera is pretty static actually for a Scorsese film and i don’t see the remarkable editing either. Perhaps I’m wrong. I’ll be seeing it, along with all of Scorsese’s other films, here shortly again when i prep for “The Irishman” so we’ll see.
It’s hard for me to defend the movie with another language. The key word here : rewind. Hard to believe that Marty was 71.
@kidcharlemagne –thanks- rewind? that doesn’t sound like much of a defense. If you’re familiar with the movie just mention the section of the movie and what about it you want to praise. really easy to do.
The movie is not really about Belfort ,it’s about people (like you & me),luxury. A movie about Wall Street but it’s not luxury like in a documentary style,not in a « morale » way.
Scorsese confronts us with our vices. The final scene shows us that. Marty made this in a really « cinematographic » way (the mise en scene : a car could change his color with a Belfort’s statement,the montage follows the idea that we are in the Belfort’s head,really great use of voice over here). Dynamic montage for dynamic movie (3 hours of pure cinematography,what else ?).
Did i really need to talk about the acting because it’s a reel bonus,it’s crazy acting not over the top,it’s like Pesci acting in Goodfellas or Casino (not Home Alone or Lethal Weapon). The dialogue is so funny (Terrence Winter,logic) look the dinner scene,c’est comme au théâtre,really great scene.
thanks @KidCharlemagne — You have a passionate defense of the film and that’s great. You’re not alone- i have some cinematically intelligent friends that think i highly underrate the film as well— Of the Leo collaborations I think, clearly, it’s not visually on par with “Shutter Island” or “Aviator” (search for some screen grabs and you’ll see the same – very clear. The narrative brilliance of “The Departed” isn’t here in “Wolf” either. So that puts it with “Gangs of New York” and I i’d still probably give the end to the 2002 film. Leo is fantastic in “Wolf” but i’d take DDL’s performance in “Gangs” over it.
I agree with you about The Departed & Aviator. Shutter Island is clearly underrated. I just considered The Wolf as a more compelling movie. In Leo-Marty movies; it’s the best Leo performances,the second best narrative brillance & ensemble cast,the third best cinematography.
And for what it’s worth,maybe the most rewatchable movie.
There is a consistency to Scorsese work which I have grown to love over the years. His best work makes you groan a little bit. The first time I watched Taxi Driver I was uneasy. Goodfellas appalled me, same with Raging Bull and a few others. Casino was too brash, and so on. It’s tough to look at but you can’t take your eyes off it as well.
He now has a Masterpiece in five different decades. That is just remarkable. I hope he makes that Leo/De Niro film. Killers or the flower moon. Inner rumblings say that he is done.Hope not.
De Niro is the perfect vehicle for him in that regard. His De Niro face (lol) can make anyone nervous.
@AP —- thanks for the comments here and for adding insight to the Scorsese page. He’s a master and his longevity is, I believe, unprecedented, in the history of cinema. I don’t think anyone has films on or around the level of Mean Streets (1973) and The Irishman (2019) that are 46 years apart like that.
My Favorite old School Director hands down. Him Paul Thomas Anderson, and Quentin Tarantino inspired me to become a director.
My Ranking of the films I’ve seen so far is
1.Taxi Driver
2.Goodfellas
3.Raging Bull
4. The Wolf of Wall Street
5.The Irishman
6.The departed
7.Alice doesn’t live here anymore
8. Mean Streets (I’ve only seen this once it will probably move higher with more viewings.
9. The Aviator
10.Gangs of New York
11.Whos that Knocking on my door
My top 6 scorsese films from what I’ve seen so far
1) raging Bull
2)the age of innocence
3)goodfellas
4)mean streets
5) taxi driver
6)the departed
@ Azman. Thanks for the comment. Great choices — So I wrote this page in April 2019— well later in 2019 in preparation for The Irishman I watched every Scorsese film in order and here’s my updated top 7– we actually share a lot in common (even if a few in slightly different order here).
1. Raging Bull
2. Goodfellas
3. Taxi Driver
4. Mean Streets
5. The Age of Innocence
6. Casino
7. The Departed
I find that a lot of the times we have realllly similar choices. There are certain movies I live but you dislike but most of the time your rankings are spot on (in my opinion). I use this website more than TSPDT. I have ‘only’ seen about 200 films but I plan on seeing your top 3 from each year. I have learnt so much about movies by reading your reviews
@Azman— thanks for saying that– much appreciated. Please leave comments as you make your way through the top 3 of each year and let me know what you think.
‘No matter what you do, no matter how good you are, there’s always Scorsese.” What a brilliant quote.
There are so many new films for me to discover but I keep rewatching the same films by Scorsese over and over again. Haha?. I want to be a director when I grow up (I’m 17), but I know that despite all my efforts I will never truly be as good as Scorsese is. By far the greatest living director. His films appeal to regular cinema goers and films critics. He is a genius.
@Drake- How would you rank every Scorsese film (if it’s easy for you) ? Do you think in time some will climb up and some down?
@Cinephile– so I watched them all in 2019 leading up to The Irishman and put this together below. The Irishman is certainly in the top 10– not ready to say more yet until I give it more time and see it again. And these are all in the archives (worthy of study, recommending) — the only one Scorsese has made that wasn’t was Boxcar Bertha.
1. Raging Bull
2. Goodfellas
3. Taxi Driver
4. Mean Streets
5. The Age of Innocence
6. Casino
7. The Departed
8. The King of Comedy
9. The Aviator
10. Cape Fear
11. New York, New York
12. Shutter Island
13. Hugo
14. After Hours
15. The Wolf of Wall Street
16. Gangs of New York
17. The Color of Money
18. The Last Temptation of Christ
19. Alice Doesn’t Live Here Anymore
20. Who’s That Knocking at My Door
21. Bringing Out the Dead
22. Silence
23. Kundun
Honestly drake, this is a bit creepy. It’s like you can read my mind. It’s like you and I have the exact same tastes in film?. My top 7 scorsese films are the same as yours (with the order a bit jumbled up.). Once again, my number 1 (Raging Bull) is your number 1 too.
@Azman– haha that’s great. Again, we’ll have to remember this and how often we agree the next time we argue about something.
Do you still think Silence(2016) is his third weakest film?Will it move higher with more viewings?
Will Silence(2016) move higher after more viewings?
@Chris- No, I don’t think so. I saw it again in 2019 after this ranking. Not amazing.
After Hours and Wolf of The Wall Street should be above Cape Fear and New York,New York.And also Silence should be around Last Temptation of The Christ not below Who’s That Knocking At My Door.Otherwise I’m fine with the list.
@Drake- Great list, so I see that you moved Goodfellas behind Taxi Driver. Here’s mine:
25. Boxcar Bertha (undoubtedly his weakest)
24. Who’s That Knocking at My Door
23. Kundun
22. Bringing Out The Dead
21. The Color of Money
20. Alice Doesn’t Live Here Anymore
19. New York, New York
18. The Last Temptation of Christ
17. Hugo
16. Gangs of New York
15. Cape Fear
14. Shutter Island
13. The Aviator
12. The King of Comedy
11. The Departed
10. Silence
9. After Hours
8. The Wold of Wall Street
7. Casino
6. The Age of Innocence
5. Mean Streets
4. The Irishman ( Of course it’s a new film and needs more time but after 8 viewings ( one as a mini-series) I’m sure about my placement, not ready to move it higher but I think you’ve understood that I’m obsessed with this film)
3. Goodfellas
2. Taxi Driver ( Goodfellas and Taxi Driver are on par, it probably depends on my feelings the day a make the list)
1. Raging Bull
So I think my list differs more on Silence, maybe I’m overatting it, I don’t know I need to see it again.
@Cinephile– thanks for sharing. Good catch with Goodfellas/Taxi Driver… It was my error and fixed it above…. 8 times?!?! Wow.
Overall our lists have a lot in common– yes- Silence is pretty far apart but still- most are withing 3-5 of each other
Is 8 times a typo? That’s a bit hard to believe. That means you have spent 28 hours of your year watching the film. ??
@Azman- As hard as it seems to believe, it’s true, I’ve watched The Irishman 8 times. I mean as Drake pointed out, that he can watch Goodfellas every week ( I fully agree ) for me The Irishman comes close in rewatches, I think I can easily watch it one time every 2 – 3 weeks ( that doesn’t mean that I’ll do it, I’m just saying that I can, of course if I keep going watching the film until the end of the year I’m probably will reach 100 times- of course I’m not gonna do that).
1. Taxi Driver
2. Raging Bull
3. The Age of Innocence
4. The Irishman
5. Goodfellas
6. The Departed
7. Mean Streets
8. Casino
9. Silence
10. After Hours
11. King of Comedy
12. The Aviator
13. Gangs of New York
14. Cape Fear
15. Alice Doesn’t Live Here Anymore
The problem I have with Scorsese is that human beings in his films often don’t act like actual human beings. Joe Pesci first shooting and then eventually killing a poor kid for a harmless joke would be a prime example. Like we get it he is crazy, just don’t go in the fantasy land. Or even better example would be a porn watching date in Taxi Driver. It’s supposed to represent his alienation and lack of understanding of what’s socially acceptable but come on, did they really have to do all that? What are we doing? I had conversations with people that argue how characters don’t have to necessarily act like real humans but I disagree because this is not David Lynch we are talking about. Scorsese makes movies about real people. The Wolf of Wall Street is so over the top in this department, it’s like watching another spieces. Nothing in that film resembles real life and I dislike it with passion.
As Drake once said, realism is a description, not an evaluation.
@Aldo That’s kind of simplistic. I think the intention matters. Characters in Scorsese’s films are not caricatures like Lynch’s or Tarantino’s. You can’t have Pesci’s situation I mentioned above and then 10 minutes later have deep moral dillemas where you are expected to take characters seriously as real humans. Can’t have it both ways.
Every great movie has problems. Not sure why you would point out a flaw you find in Scorsese movies (that I disagree with). How can you ignore all of Scorsese’s strengths? You only mentioned one of his flaws. How about talking about his camera work or the countless other strengths he has?
@Chief Keef- thanks for sharing your thoughts. I disagree with this critique of Scorsese, Wolf of Wall Street, Goodfellas and Taxi Driver. I don’t think anyone would characterize Scorsese as a realist for one. And moral dilemmas can aren’t solely bound to works that aim for realism like the Dardenne brothers or Rossellini anyways. These are great scenes, well-directed by Scorsese, written, and acted by their various performers.
@Chief Keef
While I agree with @Drake that Scorsese is not and never has aspired to be a realist, my objection to your objections is a little more specific. It would seem that you have a higher standard for realism in Scorsese films than reality itself, as your definition of “real humans” would seem to exclude a great many people in the real world. I don’t have citations at hand, but I seem to recall the real Henry Hill stating that the scene with Tommy and Spider really happened. And I’m fairly certain the real Jordan Belfort has said that, if anything, the reality was even crazier than what was depicted in The Wolf of Wallstreet. As for the Taxi Driver scene, I’m scratching my head trying to figure out what your issue is with it. You accurately state what the scene is expressing and then just tack on a “but come on, did they really have to do all that?” I’m sorry, but that doesn’t say anything. If the implication is that Travis Bickle (one of the greatest characters in the history of cinema) is somehow operating beyond the scope of possible human behavior, then I’m sorry, but it’s not Scorsese’s depiction of humanity that is unrealistic, it’s your conception of its limitations.
The world is full of Travis Bickles, Tommy Devitos, and Jordan Belforts. That is an uncomfortable fact of reality, whether we like it or not, and Scorsese’s cinema is one of our most potent lenses into that sick truth about our world.
@Matt Harris
I just realized you replied to me, sorry for being late with my response. It’s not about being a realist or not, there are some boundaries in human behaviour that shouldn’t ever be crossed in my opinion. It seems that we disagree on what those boundaries are. By “they didn’t have to do all that”, I meant that no human being would ever take a girl out to watch porn in a theater on a first date no matter how cut off from society they are. It’s a grotesque hyperbole and it’s just stupid to me. Imagine a film where the main character goes out naked and people ask him what is he doing and it turns out our 25 year old main character doesn’t know he is supposed to wear clothes when he goes out. I’m not really sure why Scorsese always insisted on that type of hyperbole but I always suspected it’s for populist reasons.
I don’t know what your life experience is. If you don’t like Scorsese films because you find the behavior of some of the characters ridiculous or unbelievable that’s fine, but I disagree with your perception of how people behave in the real world.
The Wolf of Wall Street may seem over the top to you as far as the way the characters behave, but much, if not all, of what you see in that movie definitely happened and the characters, including Belfort, definitely behaved the way they were depicted in the film. I worked at Stratton Oakmont for 2 to 3 years with Belfort and Danny Porush among others from around 1989 to 1992. That IS the way it was. Just because you haven’t seen people behave in real life a certain way or the way certain behaviors are depicted in a film doesn’t mean it didn’t or doesn’t happen.
To expand on my other response in regards to your feelings on Taxi Driver.
Your analysis that Travis wouldn’t know not to take Betsy to a porno on a first date is missing alot in terms of time, place, and character.
“He’s a prophet and a pusher, partly truth, partly fiction. A walking contradiction.” And one day he’s gonna get organazized.
I don’t think it’s that hard to believe that Travis would be so socially awkward that he thought it was appropriate. People who try to assassinate political figures usually don’t have the best frame of mind. New York, in the 70’s, was a very different place. Adult films in NYC were much more common and much more acceptable.
Travis is a damaged veteran. He doesn’t have social skills. Skills needed to create a wrist gun holster are different than social skills. He doesn’t like people generally speaking. So his social skills are poor, he’s possibly never been on a date, and he doesn’t even understand that the movies he’s watching are wrong.
Bickle is the 70s version of the guy who spends too much time watching internet porn and who talks about his favorite pornstars on the first date.
Those types of people definitely exist. Travis is delusional and uncultured and misled. He is sexually frustrated and cannot understand regular interaction.
He’s also very out of touch and self-righteous. To him, the way he thinks and acts represents some sort of ideal. He might have assumed Betsy was ‘different’ like him.
I think it goes to show how much of a bubble he’s put himself into. There’s a scene earlier where he goes to a much seedier looking porn theatre and compared to that it must seem classy. The theatre looked grand as well which probably influenced him.
I’m not passing judgement on you, I’m merely saying that because you haven’t seen the type of behaviors of the characters that you see in Scorsese’s films in your life doesn’t mean they don’t exist.
I can tell you I’ve seen such behavior and other types of behavior in my lifetime that would probably be just as unbelievable to you, but it still happened.
Scorsese should be above Ingmar Bergman.Scorsese have 8 masterpieces compared to Bergman’s 6.I doubt Bergman have a 16th best film like Gangs of New York either.What do you think?
@Janith. They’re so close it isn’t really worth a debate. I had Bergman with 9 top 500 films and Scorsese with 7.
Yeah but the Irishman is a top 500 film and I don’t think Bergman has two masterpieces spanning 46 years.That’s incredible.And that depth of filmography.Anyone should be proud to have Last Temptation of Christ and Alice doesn’t Live Here Anymore as his 18th and 19th best film.
@Janith- yeah- I haven’t accounted for The Irishman- good point. As I said if you want to argue for Scorsese that’s fine with me- switching spots 3 and 6 or 6 and 8 or something isn’t the point- they’re all tremendous at this level. Have you studied Bergman as closely as you have Scorsese? I’m just asking- maybe you have– but most people have a much greater knowledge of Scorsese and his work than Bergman (which is only natural given Bergman’s work was so long ago- Scorsese is more contemporary).
For what it’s worth- the TSPDT director rankings has Bergman 4 slots ahead of Scorsese
King of Comedy not in the top 500 films of all time?The great Ford Coppola lists it as one of the best films of all time.
@Janith- I think you someone could argue that it should be on the top 500. It has some brilliant moments. Coppola is wrong though if he says it is one of the best films of all-time… it is not.
RIP Michael Chapman.
There’s no DP equivalent of Thelma Schoonmaker’s long tenure as Scorsese’s editor and closest collaborator. Robert Richardson, Rodrigo Pireto, and Michael Balhaus all have a legit claim. However, Michael Chapman shot Taxi Driver and Raging Bull, two of the most visually brilliant films ever committed to celluloid, and thus leaves behind an indelible legacy. Pour one out.
Wow rest in peace. Amazing. taxi driver is beautiful and one of the best films ever and well raging bull cinematography is just on another level. Just remember de niro punching the wall in prison. Masterful
@Matt Harris — RIP indeed. Well said– certainly an important collaborator on two of the greatest films of all-time
It is 393 on TSPDT.
I’m not saying it is a masterpiece.But the TSPDT Consensus have it in the top 400 at 393.And you have it outside the top 500.Why the big difference?
@Janith- I don’t think there’s a big difference
Empire magazine includes King of Comedy at 87 in their top 500 films of all time.American Film Institute rank it as the 10th best film of 1980s.It has become so influential in Pop Culture that films like Joker are heavily inspired by it.I’m not saying it should be in the top 100,but it should be well inside the top 500 films of all time.Rupert Pupkin is one of cinema’s greatest characters.
@Janith- and TSPDT takes those into account- so that means there are other lists that have it at #800– hence being a consensus list. And I’m not far from the consensus. It’s a great film.
Hi @Janith. The list of Empire is in terms of popularity, the list of Drake> Empire shouldn’t be a great parameter here’s why Shawshank Redemption above Apocalypse now, Dark knight above 2001, Some Like It Hot above 7 samurai, shouldn’t be a quality indicator of how influential it is in pop culture.
I’d have Bergman over Scorsese
The Joker is heavily inspired by The King of Comedy and lots of directors (including Scoresese and coppola)and actors cites The King of Comedy as one of their favourite films.That’s why I said it is highly influential in pop culture.I strongly believe The King of Comedy should be in the top 500 films of all time.So that means Scoresese should have 9 top 500 films (including the irishman)the same number as Bergman.For me what puts Scoresese above Bergman is the depth in quality of his filmography (Bergman doesn’t have quality films like Gangs of New York,Wolf of the Wall Street,The Color of Money,The Last Temptation of Christ,Alice doesn’t Live Here Anymore outside of his top 14)and longevity (Scorsese’s two masterpieces Mean Streets and The Irishman is separated by 46 years).Working with 3 top 20 actors in 15 of his films helps Scorsese’s case as well.
@Janith- pop culture influence and length of years between masterpieces doesn’t mean a thing to me (outside of being kind of fun trivia). The depth of filmography is interesting. But there isn’t a winner here. Bergman has 21 archiveable films (probably more when I get a chance to go through them all like I’ve done with Scorsese) and Scorsese has 24– and they’re both so incredible down the line. Not a big advantage. Face to Face, The Passion of Anna…
for what it’s worth- Bergman has 13 TSPDT top 1000 films, Scorsese 9… from 1001-2000 Bergman leads again with 6, Scorsese 5… Scorsese will add some in future years as his work is more recent but again– pretty close.
Yeah but 3 of his top 10 films The Departed,The Aviator And The Irishman as well as Wolf of Wall Street(which is highly regarded among others even you think it is his 15th best film)should be in the TSPDT Consensus top 1000.That Means Scorsese should equal Bergman with 13 top 1000 films.Another of his 7 films(Gangs of New York,Shutter Island,Cape Fear,Color of Money,Hugo(won a golden globe for best director),After Hours(An underappreciated gem),Alice doesn’t Live Here Anymore)should be in between 1000-2000.Yeah they are so close.But Scorsese have 3 top 32 films and one top 10 film.Bergman can’t rival that.That give Scorsese a huge advantage and should put him above Bergman.
Yeah but 3 of his top 10 films The Departed,The Aviator and The Irishman as well as Wolf of the Wall Street(which is highly regarded among others even though you think it is his 15th best film)should be in the TSPDT Consensus top 1000.That means Scorsese should equal Bergman with 13 top 1000 films.And another 7(Shutter Island,Gangs of New York,Cape fear,After Hours(An underapppreciated gem),Hugo(won a golden globe for best director),Alice doesn’t Live Here Anymore,Color of Money should be in between 1000-2000.Yeah they are so close.But Scorsese have 3 top 32 films and one top 10 film.Bergman can’t rival that.That give Scorsese a huge advantage and should put him above Bergman.
@Janith- not at all
Will he move into at least 4th place behind Bergman when you update his top 10 with Irishman?
Yeah but 3 top 10 scorsese films The Departed,The Aviator and the Irishman as well as Wolf of the Wall Street(which is highly regarded among others even though you think it is his 15th best film)should be in the TSPDT Consensus top 1000.That means Scorsese should equal Bergman with 13 top 1000 films.Another of his 7 films(Cape Fear,Alice doesn’t Live her Anymore,Gangs of New York,Shutter Island,Color of Money,Hugo(which won him a golden globe for best director),After Hours(a underappreciated gem)should be in between 1000-2000.Yeah they are so close.But Scorsese has 3 top 32 films and one top 10 film.Bergman can’t rival that.That should put Scorsese above Bergman.
@Chris- as I said above – I don’t have a problem if someone has Scorsese ahead of Bergman— or the director #1 overall. Any of these directors in the top 10 or so have a really good case. I get why people are arguing for Scorsese on the page here. He’s the most contemporary of these auteurs and most have a greater knowledge his work than the others. That doesn’t mean he’s necessarily better though- it probably means some people need spend some time studying others as well
I’ve always been a bigger fan of Scorsese, but you have to recognize Bergman’s body of work.
Really if the best Scorsese movies were made from 1973-1976 and did nothing archivable would still be among the best, it’s nice to see Scorsese still on
the top, but shouldn’t be an indicator, how would you compare it to Coppola? almost 30 years ago it didn’t produce a good movie.
You are pointing out the weaker movies of him.
Bergman also has the best actors on his side, Kubrick does not collaborate frequently with an actor, there is an actor-director dependency, contrary to the directors.
In terms of filmography they are the same, Bergman has +20 archivable movies, and many more that i have not seen.
“If given 3 minutes to show someone one scene on why I love cinema it would probably be the Copacabana shot from Goodellas”.
that’s an interesting concept. i’d probably go with the scene where Susan leaves Kane and he freaks out. That, or Dave unplugging Hal
Or the « Baptism » scene in the Godfather
Or the « Montage » scene in Raging Bull
Or the Opening of Apocalypse Now
How would you rank and grade every Scorsese film from worst to best ? This answer is specifically directed towards the readers of the blog.
[…] 6. Martin Scorsese […]
I think Scorsese is very overrated (not only for you, but for the majority of the film buff), I really don’t think he’s on the same level as directors like: Tarkovsky, Bergman, Ozu, Kurosawa and Kubrick, yes Scorsese made great Taxi Driver films, The Comedy King, Means Streets, Raging Bull (Taxi Driver is in my top 10), but over time he changed his style (for an inferior one in my opinion), if he continued in the “Paul Scharder style” he would be a much more important director, instead he opted for a narrative type, in my opinion, easier, for me the “Scorsese style” (Casino, Goodfellas, The King of Wall Street) is something very easy to copy, an example Boogie Nights by Paul T. Andersson (who over time managed to build his own style much better than the “Scorsese style”), already great directors like: Kubrick and Bergman, I think it is impossible for someone to make a film like theirs. You could argue that he served as an influence, like Kurosawa, for other directors and that only made Scorsese even bigger, I don’t think, because I don’t think he’s really an influence (unlike Kurosawa), he created just one style ( copyable) of film. I don’t hate Scorsese, I just think he should be less overrated, he should be with (good) directors, like: De Palma, Tarantino, Lars Von Trier, not with (great) directors, like: Kubrick, Bergman, Antonioni, Tarkovsky.
Hi @Lucas Henriques. I must admit that this comment makes me furious, so I’ll try to be cordial, i challenge him to name 5 directors alive better than him, there aren’t, if you can get to three, none of those is “better”
You said not long ago that you couldn’t understand the greatness of Antonioni? did you mention “is that all?”
What does a style that is being copied matter?
I must add that in any case, this only hurts those who copy it and the directors you mention are also plagiarized, constantly every good director today is called “the new Kubrick” and even lost count, the same with Hitchcock, any thriller they call it “hitchcockian thriller” practically all the directors of the top 10 have been copied, with the exception of Tarkovsky
Finally, we are judging directors, not who is less imitable, the best directors are those who make the best films and in this case it is Scorsese, it does not matter that it is copied, that does not take away any greatness from him and his films
Agree c0mpletely ! Especially the ” Sc0rsese ” style ! A Br0nx Tale was the M0vie G00dfellas sh0uld have been . Casin0 was G00dfellas g0es t0 Vegas , The Departed was G00dfellas g0es t0 B0st0n and The w0lf 0f Wall Street was G00dfellas g0es t0 Wall Street and d0n’t get me started 0n that ab0manati0n The Irishman !
I’d take your provocative comments slightly more seriously if they included fewer exclamation marks and the letter “o” rather than “0.” Grammar nitpicking is not usually necessary, but what I’m doing is less like nitpicking and more like laughing at someone who appears to almost be purposefully writing in ways that hurt their credibility.
@Lucas Henriques I disagree with multiple things you say. scorsese is not overrated he is one of the greatest auteurs of all time, even with all the second third and fourth tier films he created. little can match his crime trilogy of mean streets taxi driver and raging bull, as well as goodfellas. his style is very imitatable but so is ozu’s and, hitchcocks and de palmas. just because he has a distinct style, that doesnt take away points from him, but rather from copycats like anderson (who has become a good visual artist in his own right). the king of comedy isnt my favorite either but it is very well made and rightfully iconic, kind of his cult classic also, he does belong with those great directors you acknowledged (so does de palma, and arguably better director). roping him with a nihilist provaceteur and tarantino is an insult to his contribution. also no director knows the history as well as scorsese, so he has possibly the richest cinema traditions to draw upon.
Aldo, I wasn’t talking about Michelangelo Antaonioni, yes, about the painter Michelangelo. I think the director Antonioni is very good
And I don’t know if I can name three living directors more important than him, but I can name one: Godard (and maybe Lynch) But even if Martin was the most important, this is not a criterion to place in the top 10
Well, you have a very long way to go, because i don’t think anyone on the site other than you would think that Scorsese is overrated.
And yes, it is not a criterion, but Scorsese is the best alive, the only others are Coppola and Godard who are out of the game, I don’t think any of them have made a movie as good as the Irishman in this century
But Ozu created a new type, a new genre of film
After all, the most important directors (most) died
@Aldp I agree. There are differing opinions on the likes of tarantino and other directors on this site but most people recognize scorsese. His contribution to film is spectacular. Also i have not yet seen Irishman, can you tell me about why you think it is so great. I just haven’t gotten to it yet.
@m- very happy you and others came to the defense of Scorsese. Baffling to me that one needs to be mounted at all…. but there’s also little debate left to be hard regarding Tarantino at this point. You may not like him for your personal reasons— but as I’ve mentioned before somewhere on the TSPDT top directors list (so it isn’t just me) he’s the #1 director that has a debut post 1990 (WKW had one in 1989 so he doesn’t quite count). It takes longer to get into the canon (and it should) and he’s 20 years younger than Scorsese– but he’s in. That’s a consensus list.
I prefer Taxi Driver over Raging Bull, for you, what qualities does Raging Bull have, which are better than Taxi Driver?
I don’t know who you’re asking, but all three are close (Goodfellas, Raging and Taxi) luckily all Scorsese movies have reviews, 25 of 25.
http://thecinemaarchives.com/2019/08/02/taxi-driver-1976-scorsese/
http://thecinemaarchives.com/2019/08/19/raging-bull-1980-scorsese/
Okay, something strange happened, it says that my comment is pending moderation, what did I do? haha
While I think Raging Bull may be the best/most beautiful black and white movie ever made i really think Good fellas is too overrated. I’ve had the chance to see Goodfellas after seeing the Irishman first and I can tell that The Irishman is actually better. I even think WOWST is better than Goodfellas.
Hi @Alejandro. This is incorrect, in no way is it overrated, if you mean i don’t know, excessive violence, i agree with that, but WOWST better than Goodfellas? It’s not even one of Scorsese’s top 10
I wonder under what filter / criteria are you watching the movie?
I know Good fella is an stylistic achievement from Marty and is amazingly well made yet I can’t see it being better than The Wolf. Good fellas script, specially passing the half of the movie is not that good, the acting isn’t that good either. Maybe not worst than The Wolf, but given is a massive MP for me is just slightly “better” than the Wolf. I know it’s a masterpiece but for Marty MP for me is the weakest. I seen it twice and I can’t see it as something fresh or that has aged well.
But anyway thank you Also you have help me change my mind in the past more than one time, not with Roma or Good fellas, but definitely with some Goddard movies specially Breathless.
But anyway thank you Aldo you have help me change my mind in the past more than one time, not with Roma or Good fellas, but definitely with some Goddard movies specially Breathless.
Sure, i’ll try to help if i can, although i have yet to see Children of paradise again.
Although i still don’t understand the problem with those two movies but its okey haha.
In my criteria its barely a MS I can think at least of 100 better and more memorable films than that one. Maybe I happened to love Raging Bull too much and for me Good fellas is really like meh.
@Alejandro- send the list of 100
Haha yes, I would like to see a list of 100 better movies than Goodfellas
Raging Bull is the greatest American film ever made. Goodfellas in 99.98% as great.
*is
Scorsese is a master of camera movement and editing. The Goodfellas Copacabana shot and the Raging Bull final fight scene rank among the best uses of the respective techniques. In fact, if one were to make a list for those two elements of film style, he would likely appear quite highly on both. Are there any other auteurs for which this is true? Here are some old masters that may be options:
Kubrick: The majority of the greatest directors possess at least one sequence of mastery for every aspect of cinema style. Kubrick, perhaps the best of all time, is no exception. Look no further than the clever 2001 bone cut, the hypnotizing Stargate sequence, the powerful Paths of Glory war trench tracking shots, and The Shining’s unsettling tricycle scenes.
Kurosawa: I must include Kurosawa for two reasons: 1, because he deserves it, and 2, in order to prevent from upsetting Matt Harris. The Japanese all-timer is primarily known for his action scene editing and, of course, his compositional brilliance, but there are many instances where use long takes and dynamic movement.
Hitchcock: The Master of Suspense has the unique gift of completely well-rounded cinematic talent. He can make a one-shot illusion film and landmark in camera movement history, then shift and craft one of history’s most famous editing sequences in a nondescript shower.
Welles: It seems that I am simply listing the greatest auteurs randomly, but they are indeed masters of both editing and camera movement. Welles is certainly more famous for the latter, especially in the opening of Touch of Evil, but Citizen Kane and his other films contain inspired montage work.
Fellini: Federico Fellini is the freest of auteurs, content to let his camera roam around wherever it likes, his shots to cut here and there on their own free will, and his idiosyncratic characters to glide around from one extravagant set piece to the next.
Spielberg: Those who find Spielberg to be an entertainer of low skill with little mastery in any area can receive the same fate as the Nazis who faces were decimated by the Ark. All right, perhaps that’s a bit much. However, there is no denying the solid editing work throughout Jaws, Schindler’s List, and Raiders of the Lost Ark or the visceral camerawork in Saving Private Ryan.
Resnais: If one can forgive the repetitive, confusing nature of Last Year at Marienbad, they will come to the revelation that it is an absolute knock-out masterpiece in all four of Drake’s cinematic style elements. The graceful camera movements, especially in the beginning, are precise and eerie, as is the editing in certain splicing scenes.
There are also some newer directors with prowess in both categories:
Fincher: David Fincher’s dark, urban environments are the perfect setting for high-quality, dynamic cutting work. He may stand as the second-greatest current director in the editing category, below Nolan. Don’t turn a blind eye on his spirited camera movement work in Fight Club.
Chazelle: The opening shot of La La Land is simply transcendent. I admire the beginnings of Touch of Evil, Gravity, The Earrings of Madame de…, and many others, but I may present the title of greatest opening tracking shot to Chazelle’s exuberant musical number. Although I have not seen Whiplash, I have heard tales of its masterful musical montage editing.
Tarantino: QT may attempt to be too cool for his own good. This, however, could only be considered an issue if it yielded style that was unsuccessful. Instead, Tarantino lays claim to vigorous montages, immaculate slow motion, lively tracking shots, and much more.
There are many other directors for which a case can be made. I suppose almost any director, besides someone like Ozu, could be argued. I’m sure I have forgotten some major choices. Who would everyone add?
I regret having forgotten Spike Lee. Evidence includes the Malcolm X assassination montage and the presence of superbly crafted bombastic camerawork, such as the double dolly shots, in his work.
Haha I’m getting name dropped! I suppose there’s worse fates than being known as the Kurosawa guy. 😛
Haha there certainly are. Of course, you are much more – one of the most intelligent and agreeable people on this site. Kurosawa is a top two director for me as well (Kubrick at the top, with Bergman, Hitchcock, Welles, Scorsese, Coppola, PTA, Ozu, and the trio of Fellini, Leone, and Dreyer all itching for the last spot to round out my top ten).
Great list of Scorsese’s favorite films throughout all of cinematic history:
https://mubi.com/lists/martin-scorseses-favorite-films
@Zane- great share- thank you
It’s very long haha. I got to 1000 and I was just in the 70s. I can’t even imagine how much research the guy who put this together had to have done.
Does Scorsese have any chance of ever making it to # 1?
I saw you upgraded Cape Fear (1991) to HR/MS
The Irishman you said may be a MP
Scorsese currently has 3 movies in your top 32 according to your most recent list (Coppola is the only other director with 3)
But just between his ridiculous top 3, longevity and consistency of his filmography and of course his sheer brilliance behind the camera – tracking shots, freeze frames
His ability to recreate worlds is another strength – Gangs of New York, Casino, The Aviator, Age of Innocence
He’s my personal favorite so perhaps I’m somewhat biased but I really think he has a case for # 1 especially if he somehow finds a way to put together one final masterpiece although I do it will be difficult to top the Irishman
@James Trapp- Just like my list the best films- I think many of the top filmmakers have a strong case for #1. I would never get into a big argument about Hitchcock vs. Scorsese for #1. For example, I did a Kurosawa study in 2020 and was blown away. So the answer to your question is yes— he has a chance. I haven’t gone through all the metrics to do a re-ranking. I’m not sure when I’ll do that- it’ll be a few years. But, again I largely use my top 500 of all-time list to start my directors list and that list of 500 films has a 10-year moratorium. So I really didn’t count anything from Scorsese 2010-2020 as part of that.
Okay, I like how you put that, makes sense. And yeah I guess in a way it is more of a Tier Ranking System where there is flexibility within a Tier as opposed to it being a straight Linear (absolute) Ranking System.
I think the Tier ranking is a superior way of ranking certain things in general. In other words you have say Ozu # 4 and Fellini # 5 because after all you do have to rank them but you wouldn’t say someone was wrong for putting Fellini ahead of Ozu?
https://collider.com/martin-scorsese-killers-of-the-flower-moon-begins-filming/
Who else is excited?
@Zane- so pumped
Are there any directors who make better use of songs in films than Scorsese. And to be clear songs not scores (or classical music, sorry Kubrick) Tarantino and PT Anderson are up there as well, recently watched Boogie Nights and Magnolia. Richard Linklater is great too, but I don’t think there are any directors who are superior to Scorsese in this regard.
@James Trapp– Yeah for sure- Scorsese does great work here. I found this quickly https://www.mandatory.com/culture/1106848-12-directors-whose-soundtracks-are-always-on-point and would agree – danny boyle and wes anderson as well.
@Drake – thanks for the article, good read love the article pointing out that Scorsese’s use of Rolling Stones songs alone quality for their own list
Mike Nichols deserves a spot in the conversation for the Simon & Garfunkel soundtrack in The Graduate. The Coen Brothers may also be worthy of a mention.
Watched After Hours (1985) for the 1st time, one of the few Scorsese films I have not seen. It was quite a treat, like a Yuppie style Alice in Wonderland set in 80s NYC. I went in without much knowledge and would recommend that for anyone who hasn’t seen it. Had a Kafkaesque atmosphere to it, very different from any other Scorsese film, exciting whenever you get to see a different side or style to a great filmmaker.
@James Trapp- love it- the depth of Scorsese’s filmography on full display
@James Trapp – Oh, I love After Hours, too. It landed at #5 in my Scorsese study, it’s so enjoyable and trippy and ingeniously written. Glad more people like it.
It may not be his best work, but I actually think The Age of Innocence is e keystone work to appreciating Scorsese as a filmmaker. It has the same sort of effervescent flow in terms of its camera movements and pacing Goodfellas does but without the distraction of blood and guts, from which some viewers inevitably recoil, so there’s more of an opportunity to focus on the filmmaking so to speak. With the possible exception of Raging Bull, I’d say “Innocence” could be his most important work, since it perfects the “movement” he was clearly aiming for with Goodfellas, even if the latter is clearly brilliant in other ways.
It’s probably the greatest of his non-“guy movies” in any case.
I l0ve this site ! I th0ught A Br0nx Tale was the m0vie G00dfellas sh0uld have been but wasn’t and i th0ught that The G00d Shepherd was a better film than The Departed ! As f0r Age 0f Inn0cence < the Academy g0t it right that year by ign0ring it .in fav0r 0f the far superi0r Remains 0f the Day .The Aviat0r was a b0ring , bl0ated miscast mess which t0ld us alm0st n0thing ab0ut h0ward Hughes that we didn't already kn0w and The Irishman was an ab0manati0n that just pr0ved that a m0vie ab0ut m0rtality , regret and the price 0ne pays f0r a life 0f crime was already d0ne much better thirty years earlier by Francis F0rd C0pp0la with the third G0dfather film !
1967: Who’s that knocking at my door (R)
1973: Mean Streets (MP)
1974: Alice doesn’t live here anymore (R/HR)
1976: Taxi Driver (MP)
1977: New York, New York (HR)
1980: Raging Bull (MP)
1982: The King of Comedy (MS)
1985: After Hours (HR)
1986: The Color of Money (R/HR)
1988: The last temptation of Christ (R/HR)
1990: Goodfellas (MP)
1991: Cape Fear (HR/MS)
1993: The Age of Innocence (MP)
1995: Casino (MS/MP)
1997: Kundun (R)
1999: Bringing out the dead (R)
2002: Gangs of New York (HR)
2004: The Aviator (MS)
2006: The Departed (MS/MP)
2010: Shutter Island (HR)
2011: Hugo (HR)
2013: The Wolf of Wall Street (HR)
2016: Silence (R)
2019: The Irishman (MS)
Mean Streets MS
Alice Doesn’t Live Here Anymore R
Taxi Driver MP
New York, New York R
Raging Bull MP
King of Comedy MS
After Hours R
The Color of Money R
The Last Temptation of Christ —
Goodfellas MS
Cape Fear R
Age of Innocence MS
Casino HR
Kundun R
Bringing out the Dead R
Gangs of New York R
The Aviator —
The Departed HR
Shutter Island R
Hugo —
The Wolf of Wall Street R
Silence HR
It feels weird to say it, but since I’ve found this blog (about two years ago), it has slowly but surely grown as one of my reference point concerning films, and moviewatching in general (I sure learned a lot from your very visual-based approach to analyzing movies).
A question I always had thought, is what exactly you meant with Scorsese’s “signature triple-edit”. I’ve seen a fair bit of his films, and still haven’t understood what this is.
Apart from that, great blog ! It’s always a pleasure to read your entries ^^
@Jeff- Thank you for the comment and the kind words here. Appreciate you visiting the site. If move this to the 1-minute mark you’ll see the editing move I’m talking about. If you have a better name for it let me know. https://www.youtube.com/watch?v=k0KMxLvsvLI
OK, I see what you mean now! I never noticed that it was a Marty staples yet, I guess I’ll have to pay more attention to this next time
Did you have a another director with 10 MP/MS ?
Scorsese : Mean Streets, Taxi Driver, Raging Bull, King of Comedy, Goodfellas, Age of Innocence, Casino, Aviator, Departed & Irishman.
@KidCharlemagne- I have not re-racked the director’s rankings or pages in awhile but I think Kurosawa, Hitchcock, Ozu and Bergman are there or very close.
Thanks for your answer.
@KidCharlemagne- Visconti is close with 4 MPs, 3 MS and 2 HR/MS on this site
I think Godard is also close
https://brobible.com/culture/article/leonardo-dicaprio-killers-of-flower-moon-masterpiece/amp/
Obviously it won’t touch the big 3, but how awesome would it be to get another MS or MP from Scorsese?
@LeBron Smith- It certainly would be awesome- thanks for sharing this
Have you ever caught Boardwalk Empire? Scorsese directed the pilot, and he’s an exec producer on the show, it’s one of my favorite shows, and the 3rd best HBO show in my opinion (The Leftovers, The Wire, Boardwalk Empire)
I haven’t seen Boardwalk in a long time, but it’s an incredible show with Buscemi in the lead role
@Dylan- I have, not the entire thing but I’ve seen the pilot and some of the show. I think Scorsese has done this a few times with different shows
Could Killers of the Flower Moon being a huge success (MP, MS/MP, or even MS) take Scorsese to GOAT (#1) status?
Just looking at this page here, notable changes/additions to his resume since the last update:
– The addition of The Irishman which is a MS
– Cape Fear from a R to HR/MS
– The Age of Innocence from MS to MP
– Casino from MS to MS/MP
– Wolf of Wallstreet from R/HR to HR
– Shutter Island from MS to HR
– The Color of Money, The Last Temptation of Christ, and Hugo from R to R/HR
New York New York from R to HR/MS as well
The top 2/3 is hard. I think he could ends in the top 5. Maybe 4 if he gave us 2/3 HR/MS/MP movies.
@Matthew – I think he already has a Case for being the GOAT but that would obviously strengthen the argument. Just for the record my top objective top 4
1. Stanley Kubrick
2. Alfred Hitchcock
3. Martin Scorsese – my personal favorite director of all time
4. Akira Kurosawa
@James Trapp He’s in my top 2 (Kubrick number one) and he’s my favourite of all time.
@Matthew- should start seeing early reviews for Killers of the Flower Moon this weekend as it premieres at Cannes
https://m.youtube.com/watch?v=tclQ1W1dLZk&pp=ygUia2lsbGVycyBvZiB0aGUgZmxvd2VyIG1vb24gdHJhaWxlcg%3D%3D
@KidCharlemagne – very exciting
That 200$ million dollar budget is tangible. I can feel it. Also good on Scorsese to get the same production designer that PTA used for There Will Be Blood (Jack Fisk), the period detail and the scope that Scorsese appears to be capturing it in looks soo promising. It was already my most anticipated film of ‘23, but this just confirms it
@Matthew- Good share here- I did not realize Jack Fisk worked on this. Good for him – can’t go out with Causeway and Song to Song with the last things on your resume
Early reviews are coming in: 9 minute standing ovation. 95% on Rotten Tomatoes. 92% on Metacritic. Shaping up to be a possible MP.
@Christopher – very exciting – looks like a strong Cannes with this and Jonathan Glazer’s film yesterday https://www.metacritic.com/movie/the-zone-of-interest – and more to come from Todd Haynes, Wes Anderson and others. Can’t wait
97 on Rotten Tomatoes so far on 64 reviews but more importantly is that the praise seems to focus on its ambition and scope. The reviews also seem to indicate that it fits within Scorsese’s worldview with thematic similarities with many of his best films; all great signs so far.
@James Trapp Yep, hard to ask for much more than that
Just wrapped up my Scorsese study last night, probably my favorite study I’ve ever done. I think bar Kubrick, you’re looking at the greatest American director of all time in Marty. He’s got everything you’d want in a director, extremely distinct and instantly recognizable style, incredible depth, and his best films are among the best films in cinema history.
Here’s how I ranked him out:
1) Raging Bull – MP
2) Goodfellas – MP
3) Taxi Driver – MP
4) Mean Streets – MP
5) The Age of Innocence – MP
6) Casino – MS/MP
7) The Departed – MS
8) The Aviator – MS
9) The Irishman – MS
10) The King Of Comedy – MS
11) Shutter Island – HR/MS
12) Cape Fear – HR/MS
13) New York, New York – HR
14) After Hours – HR
15) Gangs of New York – HR
16) Hugo – HR
17) The Wolf of Wall Street – HR
18) The Last Temptation of Christ – HR
19) Silence – R/HR
20) Bringing Out the Dead – R
21) The Color of Money – R
22) Alice Doesn’t Live Here Anymore – R
23) Kundun – R (close to not being archived)
@Chase – awesome stuff, I am starting one myself funny enough soon, trying to line it up with the release of Killers of the Flower Moon (2023)
@James – That’s why I did the study as well, absolutely cannot wait for that film to release. It’s probably silly to make predictions like this before the film is even out, but based on the trailer, the reception on Cannes, and Marty’s quotes on feeling more invigorated recently with his filmmaking and storytelling, I think it has serious potential to land somewhere in the top 10.
@Chase – While The Wolf of Wall Street is not a MP it felt like a possible last major film for Scorsese with its go-for-broke grandeur. Scorsese was 70 years old when it was released 10 years ago and with the 3 hour runtime and just the sheer energy involved it seemed like it might be if not a final film for Scorsese a last major one. That’s how I felt anyone, maybe others did not.
But then Scorsese releases a 3 1/2 hour film the quality of The Irishman at 77 years old! Unbelievable, I have it as a MP most seem to regard it as at least MS on this site. And frankly I would have been more than satisfied with it as Scorsese’s final major effort. But now with Scorsese at 80 years old releasing another 3 1/2 hour film with reviews that indicate it may be even better than The Irishman. This is crazy!
It’s a MS for me because of the DeAging, not gonna lie. It’s best film since Aviator or even Casino.
@Chase- Excellent work Chase! Thanks for sharing.
@Chase – Were there any major changes for you in terms of comparing your grades for the study with your pre-study grades? Or even if you did not have an official grades before the study, any major changes or surprises?
@James – In truth, I hadn’t actually seen that many Scorsese films before I started the study. The only major change that I had was The Departed going from around an HR to a very high MS, I guess it had been so long since I’d seen it and was too focused on how engaging the narrative was to really notice how detailed the mise-en-scene is and how good the parallel editing is as well. I also found that I was slightly overrating The Wolf of Wall Street (HR/MS to HR), and slightly underrating Taxi Driver, which I still had as an MP but was around my 85-90 spot and is now at #31.
I think for the most part though, Scorsese’s films get better once you can connect them back to the rest of his filmography and spot his stylistic and thematic traits and obsessions, so I don’t see a situation where a film would get a significantly worse grade on revaluation unless one were significantly overrating it.
Mean Streets (1973)
Notes:
Starts with Scorsese voice over as Keitel’s character wakes up and looks into mirror
1:05 triple edit followed by pop music and title sequence which consists of home video montage
3:40 red dimly lit bar
5:30 Robert De Niro as Johnny Boy
5:55 tracking shot Keitel as Charlie walking into an empty Church
6:25 camera rapidly pulled back to long shot
7:20 camera pans through red lit bar
8 min Charlie works his way through to stage with strippers
9:20 camera moves in on transfixed Charlie
Richard Romanus, David Proval,
15 min Johnny Boy double talking is hilarious
20:48 camera moving around restaurant
22 min tracking shot through Little Italy
26:40 the 3 friends watching The Searchers (1956) one of Scorsese’s favorite films
32 min brawl at the pool hall, started by minor insults and escalates
35:56 fight almost starts up again
38:30 another tracking shot into red lit bar
39:23 low angle shots as they shoot pool
41:37 nice composition with the guys scattered throughout frame
45 min shooting sequence in bar leads to fleeing the area and turning off the neon lights
48:36 oversized gun in mise-en-scene
52:50 Charlie in bed with Teresa
53:32 Charlie finger gun pointed at Teresa who is facing away from camera, this followed by rapid series of shots; interesting editing here
55:56 triple edit followed up with overhead shot of crowded streets of Little Italy
58:11 Charlie and Teresa walking along beach
1:04:00 Charlie dining with some of the higher ups in the neighborhood
1:04:34 close up on Charlie’s face as soon as the uncle mentions Johnny Boy; its clear Charlie feels obligation to Johnny Boy
1:04:50 “honorable men go with honorable men” Charlie’s Uncle
1:05:12 the uncle advice to avoid Teresa
1:05:35 change to wider angle shot, showing the restaurant to be mainly empty aside from their table
1:16:06 Charlie disoriented as close up shot on his face is maintained while the camera pans all over the place with shallow focus d in background
1:19:09 Michael’s patience running out
1:22:00 red, white, and blue in mise en scene
1:24:14 rare misfire on music, thankfully its brief
1:25:00 Johnny master of redirecting all his failures as other people’s fault
1:28:05 zoom in on Michael yet again pressing Charlie to get Johnny Boy to pay his debts
1:29:30 nice use of lighting in frame
1:30:30 Johny Boy shot in disorienting sequence with fight in street
1:39:32 Michael and Johnny Boy finally face to face in the red lit bar
1:39:38 Johnny Boy is so utterly shameless here that it actually ends up being hilarious; Johnny Boy was supposed to give Michael $30 (which is minuscule given he owns $2,000) but Johnny Boy tells him he used $20 of those to buy drinks while he waited
1:40:40 Johnny brags and taunts Michael, everyone has their breaking pointd
1:46:10 great use of streetlamp lighting
1:46:46 rock soundtrack picks up
1:47:24 Michael drives up next to Charlie, Teresa, and Johnny Boy; hitman played by Scorsese himself shoots Johnny, great use of editing to depict the chaos in this final sequence
Thoughts:
Mean Streets is essentially Scorsese’s coming out party, the production quality is not near his later works, but it gives the film a gritty documentary style
It would probably sound like an insult to refer to as MP level film as a dress rehearsal, but you could argue this as a dress rehearsal for Goodfellas, much common between narrative and visual style
Harvey Keitel is excellent start to finish, between him and De Niro it’s really close for the film’s best performance; similar to Goodfellas which is a tossup for best performance between the lead protagonist played by Ray Liotta and the flashier role of the out-of-control character played by Pesci. I found Keitel’s portrayal of Charlie to be refreshing as he is actually a decent man and loyal friend (to a fault at times). Charlie is a complex character, so often in Mob films every character plays over the top tough guys
Religious iconography and crosses are used in mise-en-scene throughout the film
The music choices are phenomenal, with one exception
Many themes that Scorsese would revisit throughout his career, loyalty and obligations to family, redemption and guilt
The late great James Gandolfini, who portrayed Tony Soprano, cited this as his favorite film as he supposedly watched it 10 times in a row
De Niro is so good here as Johnny Boy, you really want to punch him in the face from basically the first time you see him, he nails the deadbeat leech role to absolute perfection, his character is key to narrative and rising tension between Michael and Charlie and by extension Johnny Boy
I love the use of red lights in the bar which serves as their headquarters of sorts, they are small time crooks which is quite different from many of Scorsese’s later gangster/mob films
Impressive editing in the final car sequence, all the chaos following the shooting is captured with frequent and disorienting edits and change of camera angles
Verdict: MP
Alice Doesn’t Live Here Anymore (1974)
Notes:
Opening credits with a female singing voice off screen while credits roll with red cursive lettering over a sky-blue background
1:47 gorgeous image with Ruby Red frame
2 min camera slowly pans and then slowly zooms in on a shot of a house followed by a young Alice called in by her parents, all this seems inspired from The Wizard of Oz
3:42 zoom out, camera pans over California neighborhood
6:56 Alice (Ellen Burstyn), a young boy, and her husband Donald (Billy Green Bush) sit at table eating dinner
8:17 panoramic shot of town
14 min Donald dies off screen in car accident
20:48 emotional departure as Alice hugs her best friend before setting out on the road with son
22 min car rapidly moves from foreground to background of frame
27:06 nice color is mise en scene; red carpet, Alice with green dress
30:08 nice use of white lighting in background of frame as Alice enters bar
32:39 white lighting again as sunlight seeps into dark bar room during daytime
39:39 nice use of curtains creating frame in frame as Alice happily eats with son just after landing a job singing at a Piano Bar
42:30 profile shot of Alice singing in Piano Bar
43 min Harvey Keitel as Ben introduces himself with low angle shot, she slowly warms up to him
48:34 Alice sleeps with Ben
50:47 camera moves counterclockwise as Ben’s wife comes to speak to a surprised Alice who did not know that Ben was married
53:30 Ben turns out to be violent maniac
56:38 Alice and son are on road again
1:03:03 Kris Kristofferson as David, customer in Diner that Alice is now working at
1:03:15 funny but disturbing announcement from Flo (Diane Ladd) who tells entire restaurant its Alice first day
1:09:18 Tommy makes friend
1:10:36 nice blocking in this frame
1:16:27 David builds relationship with Alice and Tommy
1:20:30 great blocking as Alice and Flo’s faces takes up most of the frame, they have become friends now
1:22:08 camera moves to long shot with the two women now in background of the frame
1:24:22 extreme closeup as Alice and David kiss for the first time
1:31:54 David hits Tommy leading to a fight in which David points out (correctly) that Tommy has been spoiled and has no discipline
1:38:30 I cannot believe Audrey is placed by Jodi Foster, unrecognizable, though she looks far different in Taxi Driver which is only 2 years later
1:45:20 David comes back into Diner and tries to make amends with Alice
1:48:18 Alice and David makeup and everyone in Diner starts clapping
1:50:10 end credits in pink cursive lettering and on the far left of frame Alice playing piano
Thoughts:
This was actually my first viewing of this film
It is one of Scorsese’s few female centric films, Ellen Burstyn gives an amazing performance as Alice. She is a complex character and Burstyn really makes the role her own
Scorsese’s opening 3 and ½ minutes contains some stunning imagery and use of color, ruby red specifically. After that spectacular opening the rest of the film is lite on impressive visuals so that hurts the film a bit, however… the performs are phenomenal; Ellen Burstyn is just tremendous as I noted above, I loved Diane Ladd as wise cracking Flo and Kris Kristofferson was solid, the only other film I’ve ever him in was Pat Garrett and Billy The Kid which was a very different role
This is a version of a road film, with Alice and her son travelling around meeting new people throughout the film, her son’s presence adds another dimension than if she were travelling by herself
A forementioned lack of visuals does limit the films ceiling but the acting and writing are done so well moving it beyond a simple R
Verdict: HR
@James-Wow. Have you never seen Heaven’s Gate(1980)? Plus didn’t watch Who’s that Knocking at My Door(1967) as part of this Scorsese study?
@Malith – yeah that’s an oversight on my part, I skipped Boxcar Bertha intentionally due to its reputation. I will do that occasionally during these studies, I have 24 total films listed to watch including the 2 I have seen so far and including Killers of the Flower Moon (2023) when it comes out. I know some people are but I do not mind not being a completionist. Perhaps I will come back to it.
I have not caught Heaven’s Gate (1980) yet I will get to it at some point
You definitely need to get to Heaven’s Gate (1980) ASAP. It’s a fantastic film. Bizzarely enough given the reviews you’d think this is a flawed film. But it was quite perfect for me. Maybe critics at the time were concentrating on things like animal violence or the absurdity of the roller skate sequence which is ahead of its time and fantastic. Great score as well.
@Malith – excited to check it out for sure. How do you think it compares with Deer Hunter?
Strangely enough. I haven’t seen The Deer Hunter
@James – I have Heaven’s Gate in my top 15, far ahead of The Deer Hunter.
@Harry – that is very high praise indeed, I think very highly of Deer Hunter (1978) which is one of the most haunting films I have ever seen.
@Malith – Would you recommend Who’s that Knocking at My Door? As I said above I have 24 films listed for the study so still have 21 to watch until Killers of the Flower Moon (2023). And those 21 films include about several 3-hour films. If I have some time left over before Flower Moon I’ll come back to it.
I have not seen Who’s That Knocking At My Door. But if you are watching all of his other films you should see this one as well. It maybe not essential Scorsese but Kundun isn’t either.
@Malith – I probably will come back to it if I have enough time. Killers of the Flower Moon has a release date of October 20, 2023; that should be enough time to get through everything. Afterward I am doing a David Cronenberg Study to align with Halloween (I did this last year with Dario Argento)
I decided to watch Who’s That Knocking at My Door and swapped it with New York New York (1977) which I intended to watch with the study
Who’s That Knocking at My Door (1967)
Notes:
Starts with woman (played by Martin Scorsese’s real life mother Catherine) in the kitchen making food for 5 children sitting at table
1:38 Harvey Keitel character J.R. gets in fight with a few other young men from the neighborhood
7:08 John Wayne reference
7:32 J.R. talks about Italian movies being dubbed
8:30 conversation about The Searchers
14:40 J.R. and his buddies hanging out
16:26 J.R. on date with same woman
20:46 contrast lighting
21:37 Jenny Take a Ride song plays again
24:39 camera pans slowly across the apartment
27 min another pop song
33:14 extreme close up before J.R. abruptly stops before sex with his new girlfriend
37:44 dissolve edit while camera pans through J.R. and his buddies hanging out
40:50 J.R. and his girlfriend go to see Rio Bravo (1959) montage of images from the movie
44 min bizarre dream sequence set to The Doors song “The End”
53:08 J.R. and two buddies make it to top of mountain during their hike, contrast lighting
58:38 brutal rape scene from past depicted using frequent edits and varying camera angles depicting the overwhelming powerlessness of it
1:01:00 J.R. does not take it well
1:04:56 J.R. drinking heavily with his buddies, this is intercut with his imagined depiction of his girlfriend’s sexual assault
1:14:56 J.R. walking down empty hallway apartment to try to make up with girlfriend
1:21:00 J.R. “forgives” her although she did nothing wrong
1:23:53 J.R. calls her a whore and is told to leave her
1:25:38 religious iconography and J.R. in confession booth is intercut with him spending time with his girlfriend
1:26:32 “who’s that knocking” song plays during final sequence
Thoughts:
Scorsese’s debut film is rough around the edges, this film precedes Mean Streets by 6 years and Scorsese obviously improves drastically over those 6 years
Scorsese ever the cinephile, there are many conversations about films, in particular one of Scorsese’s favorite films The Searchers (1956) and truth be told a few too much conversation about films
Scorsese is a Catholic and that is an essential aspect of who he is, this film examines guilt and shame effectively
This film establishes Scorsese’s love of rock/pop music which he incorporates into the film
The dream sequence is surreal, some nice dissolve edits
Despite its flaws and limitations, I still think it is worth a viewing but is no doubt minor Scorsese
Verdict: R
Taxi Driver (1976)
Notes:
Starts with taxi drive through cloud of smoke with drumming playing along from Bernard Hermann hypnotic score
1:13 extreme close up on Travis Bickle’s eyes, frame is saturated with red
1:30 distorted POV shot from inside cab with kaleidoscopic neon lights which appear through the windows which are dripping from the rain
2:30 De Niro as Travis Bickle, a 26-year-old former Marine is applying for a job as Taxi Driver, the film gets right to the story
5:30 camera pans counterclockwise in Travis Bickle’s modest apartment
6:04 “all the animals come out at night…” Travis Bickle narrates
7:27 over the shoulder shot as windshield wiper goes to into overdrive
8:20 Travis drinking liquor in middle of the day while walking into a adult movie theatre
9:15 funny tidbit as the Concession Girl, who seems to find Travis repulsive is played by Diahnne Abbott (Robert De Niro’s first wife)
10:36 slow motion shot of Cybill Shepard making her first appearance as Betsy, a young woman, who works for Charles Palantine, a fictional politician
11:54 Betsy and her colleague Tom, played by Albert Brooks
13:38 Travis driving through the streets with green and red lights in background
14:30 green and red neon lights frequently visible
16:16 Travis awkward even with other taxi drivers
16:50 camera pans slowly lingering on several black men, brilliantly establishes his racism
17:23 Travis dumps Alka-Seltzer into glass of water, this is followed by a slow zoom in on the water bubbling while the reaction noise is accentuated
20 min quick succession of close ups starting with Tom (Albert Brooks) and then to Betsy and finally to Travis right before he exits his cab and makes his move on Betsy
20:27 I like the way the camera zooms in on Betsy until she is the only one in the frame, a couple seconds later there is a triangle composition with Betsy in the middle of Travis and Tom
21:52 despite Travis being a little odd he actually comes across as confident and a little mysterious or at the very least strangely captivating and despite his awkwardness, he actually seemed to size her quite accurately
27:20 Reference to Kris Kristofferson song, I only saw Alice Doesn’t Live Here Anymore (1974) for the first time yesterday so did not know he was in any of Scorsese’s films as an actor, I like Betsy referencing the walking Contradiction lyric to describe Travis
28:08 beautiful shot of city street at night with the red and green neon signs
28:40 Senator Charles Palantine riding in Travis’ cab
33:14 shallow focus as Travis walks through a crowd
33:47 Native American reference
34:42 even if I pondered it for 25 min straight, I don’t think I could come up with a worse place to take a girl on a first date or any date for that matter
36:00 what’s especially disturbing is that Travis actually thinks taking a girl to a porn movie is a normal thing as he noted about a minute ago “lots of couples come to these”
37:07 Travis calling Betsy from pay phone trying to patch things up
38 min camera pans from Travis on the pay phone to the empty hall
38:40 the stomach cancer line comes from Paul Shrader’s Cinematic Hero, Robert Bresson
39:27 Travis confronts Betsy at campaign headquarters
40:34 I actually did not realize this was Martin Scorsese the first time I watched this film
41:27 frame in frames
41:44 camera pans up then across the exterior of an apartment building as the man played by Scorsese watches his wife who is having an affair
46:33 red tint throughout most of the frame as Travis and Wizard talk outside the Diner, the hangout spot for the cab drivers. Wizard might not be the ideal person for wisdom, but to his credit he tries
51:45 Travis sees Jodi Foster character for the 2nd time as he nearly hits her with his cab, sudden change in score as the hypnotic rhythm is interrupted by an emphasized trumpet sound
57 min Easy Andy, a darkly humorous character, sells Travis guns
57:52 Travis starts working out like a maniac and announces he plans on changing diet
58:42 Travis still with insomnia becomes increasingly obsessed with violence including his “finger gun”
59 min Travis standing in front of his mirror while practicing his “quick draw” skills
1:01:50 secret service man in foreground working at Palantine campaign event, Travis standing along with the crowd in background before striking up conversation with secret service
1:06:44 Travis talking to himself with the famous “are you talking to me” scene
1:07:30 Travis mental decline is accelerating
1:07:52 great silhouette work, part of frame obstructed by fog similar to opening
1:09:04 Travis kills armed robber
1:09:50 slow motion shot of Travis waving gun toward TV
1:12:18 camera slowly pans through crowd at Palantine Campaign Event
1:13:30 Travis narrates letter to his parents which includes lies and/or delusions
1:15:48 Iris’ pimp Matthew aka “Sport” played to Harvey Keitel
1:20:32 Travis pays for Iris but does not want sex, instead he ends up setting up date for later
1:24:23 over the shoulder shot in narrow dimly lit graffiti hallway where Travis pays a man for the room, this same man turns around and literally walks into the dark which is in the background of the frame
1:28:00 Travis and Iris bond at Diner, start to form a genuine connection that is not based on sex
1:29:50 Sport and Iris in bedroom with red lights over both characters
1:35:16 Travis in mohawk look watching Palantine
1:36:48 assassination attempt fails
1:39:08 “suck on this” as Travis shoots Sport in stomach and leaves him to suffer a painful death
1:39:49 Travis kills several other men working in building who are a part of this vile business before rescuing Iris
1:42:50 close up on Travis’ face as he uses the “finger gun” against his own head (this was also done in Joker) and shoots twice as police entered building
1:43:33 Scorsese’s trademark “God’s Eye Point of View” aka overhead shot which shows the aftermath of all the violence
Final 2 Scenes are debatable if they are a dream or not
1:46:08 camera moves in on Newspaper Story while narration from Iris’ father who narrates the letter he and his wife write to Travis as a letter of gratitude for saving Iris and an open invitation to visit if he ever is in Pittsburgh
1:48:12 Travis, apparently mended from his injuries is back to driving a Taxi and it happens to be Betsy in the back; they catch up a bit with Betsy mentioning she saw the article in the paper about his brave saving of Iris, Travis does not charge Betsy
1:51:02 ending credits play with distorted POV shot from inside cab with kaleidoscopic neon lights which appear through the windows
Thoughts:
I would not object to someone claiming this to be the greatest film ever made, for me it’s in the top 20 and sems to get better every time I watch, it is endlessly fascinating, it has everything, and I mean everything
– Amazing acting performances, I would not object to someone claiming De Niro’s performance to be the best in Cinema History, for me its in the top 20 maybe even top 10
– Bernard Hermann hypnotic score
– Stunning use of color, Scorsese’s obsession with the color red continues
– Its paced perfectly, a lean 113 minutes and much of that is to the credit of Paul Schrader who structures the film around Travis struggles to form connections with people
– Almost no cinematically quiet stretches
– Amazing camera work, effective camera pans, often slow pans that immerse viewer into world of the film, POV shots as Travis looks on in disgust at the City he hates but cannot bring himself to leave, and of course Scorsese’s “God’s Eye” Shot
The opening 2 min of credits display incredible artistic ambition that is only topped by Vertigo (1958), the next film of this study, Raging Bull (1980), and maybe a few others but not many
Shallow focus is used effectively to display the loneliness of Travis even when surrounded by large groups of people, very different film but Lost in Translation (2003) uses this effectively
The narration gives the viewer access to the mind of Travis Bickle, but Scorsese finds other ways to communicate Travis’ mind as well, for example his racism which is implied by slow motion POV shots of several of the black characters in the film
This is a huge achievement for Scorsese of course but also Paul Schrader and Bernard Hermann, I mentioned Bernard Hermann’s score above, but I will emphasize further because it is so effective in setting the films atmosphere something I consider crucial
The film is set during a hectic time in New York City with high crime rates, Todd Phillips’ 2019 film Joker is largely inspired by two Scorsese films: Taxi Driver and King of Comedy. Like Travis Bickle, Joaquin Phoenix’s character Joker is a miserable loner with a lot of built-up anger, there are many differences between the films of course, but it is clear which aspects of Taxi Driver, Phillips incorporated into Joker
I have read so many interpretations of the ending and debates about whether or not what the viewer is seeing is real, that is real within the world of the film. Some believe its Travis’ dream or possibly even his dying thoughts, like many of the best open to interpretation film ending, the actual debates they create are more important than determining exactly what the filmmaker was going for. It annoyed Stanley Kubrick to no end that for the last 30 years old his life people constantly hounded him for an explanation of the ending for 2001 A Space Odyssey
Whatever one’s beliefs about the ending, Martin Scorsese delivers a perfect film
Verdict: MP (top 20 all-time film)
Raging Bull (1980)
Notes:
Starts with slow motion shot of De Niro as Jake LaMotta shadow boxing, this is set to Intermezzo from the opera ‘Cavalleria Rusticana’, composed by Pietro Mascagni. This version is performed by the Orchestra of Bologna Municipal Theatre, conducted by Arturo Basile
3:30 older Jake LaMotta reciting in 1964
4:33 the film goes back to 1941 and LaMotta is in the ring in Cleveland
4:54 camera gliding through the ring
The black and white photography is incredible and editing
5:37 LaMotta’s opponent is knocked down, cameras recording the fight create the sensation of a freeze frame
6:18 low angle shot of LaMotta with his arms up after knocking his opponent down
6:58 crowd thinks LaMotta was robbed in decision loss after being saved by the bell
7:34 camera with rapid movements capturing riot
9:45 wife burns steak leading to fight
10 min Joe Pesci as Jake’s brother Joey and Frank Vincent as Salvy
11:18 Jake violent arguments with wife followed by Joey trying to talk sense into him, this is a pattern repeated throughout the film
12:50 I ain’t never going to fight Joe Louis
15:33 boxing ring used to create frame in frame
17:40 camera pans up apartment building and then to neighborhood pool
18 min LaMotta sees Vicky (Cathy Moriarty) sitting around pool near neighborhood wise guys
26:00 frame split down the middle as Jake takes Vicky on date to play miniature golf
31:57 rapid zoom in when LaMotta attacks Sugar Ray Robinson
32:39 slow motion low angle shot of LaMotta circling ring after knocking down Sugar Ray
34:22 close up on Jake and Vicky about to be intimate
39:09 smoke filled through frame
40:16 Pesci is hilarious, giving off a preview of what is to come later in his career with Goodfellas and Casino
40:58 extreme close up as Jake examines his face after fight in mirror
41:30 slow zoom in on hand in ice water
41:40 montage in color of Jake and Vicky looking happy intercut with short clips of fights in black and white but the personal non boxing scenes in color
44:19 montage over back to black and white, Jake complaining about his weight to Joey
49:49 Copacabana comedian cracking jokes
51 min Jake looks at Salvy with distain
53:29 Jake talks to local mob boss
55:58 religious iconography in mise en scene, cross in background behind bed
57:54 Jake gives Janiro savage beating including slow motion shot of blood falling off Janiro’s face
58:44 thick cloud of steam as Jake exercising in sauna to lose a few extra pounds
1:02:10 Joey and Salvy brutal fight ending with Joey slamming his face with taxi door
1:08:42 camera floating through tunnel reminds me of shot from The Third Man (1949)
1:09:25 reverse tracking shot
1:17:51 composition captures multiple levels of field
1:18:47 LaMotta pre-fight warm up with Joey as his punching bag, then comes out in Leopard robe
1:21:19 slow motion water pours on Jake in between rounds
1:22:03 photographers capturing fight ringside
1:23:40 Jake paranoia and sexual jealously been building for a while and starts to break @ 1:26:38
1:31:29 tension breaks even more here
1:32:17 Jake in foreground profile shot sitting in dark by himself
1:39:50 brutal beat down by Sugar Ray Robinson in their 6th and final fight leading to “you never got me down Ray”
1:40:15 slow motion straight right from Sugar Ray
1:40:50 “you never got me down Ray” as LaMotta’s face covered in blood
1:41:39 slow zoom in on rope and slow blood dripping
1:41:51 time jump to 1956 with LaMotta in Miami with Vicky and his three kids
1:43:12 exterior shot of Jake LaMotta’s club
1:46:00 stark black and white in Jake’s club
1:48:02 “prove your 21”
1:48:50 incredible composition with smoke invading left side of frame and Jake in middle pouring liquor into 5 wine glasses stacked together
1:54:32 Jake manhandled into prison cell with his gut hanging out of his shirt
1:55:40 LaMotta starts hitting wall in solidary cell features incredible acting as he breaks down in fit of rage “I’m not an animal”
1:57:25 LaMotta performing standup in NYC club
1:59:29 Jake makes peace with Joey
2:01:38 Jake reciting scene from On the Waterfront
2:03:52 “I’m the boss”
2:04:16 the perfect quote to end the film with leading to the iconic music
Thoughts:
This might be the greatest film ever made, it is so intense and heavy emotionally that there are dozens of films more rewatchable, but it is perfect in every single way and when I do watch it there might be nothing better
In a way this is not actually a sports movie, apparently Scorsese does not even like Sports, but he views the boxing ring as a sort of allegory for a man’s life. Still as an avid boxing fan since I was 13 or 14, I have watched a lot of older fights on YouTube including some of LaMotta’s fights which are surprisingly good quality. Like with any other film I have watched and graded the actual subject means little in the way of judging quality, but I would be lying if I said the actual subject matter is not especially exciting for me as a boxing fan
The actual boxing scenes are not realistic nor are they intended to be, the cameras ringside create the sensation of freeze frames, the editing and rapid changes in angles create an experience different from any other boxing film
Robert De Niro’s performance is rightfully regarded as one of the best ever, LaMotta is a man tortured by his insecurities, inadequacies, and suspicions that his wife is cheating on him despite there being zero proof. It’s a dynamic performance despite LaMotta’s complete lack of likable traits. Its part of my Mount Rushmore male performances with Daniel Day Lewis in There Will Be Blood (2007), Pacino in Godfather II (1974), and Brando in On the Waterfront (1954). It seems fitting that LaMotta recites the Brando speech from On the Waterfront in the films bookend
The opening sequence with LaMotta shadow boxing is absolutely mesmerizing, this elevates the film from the start, you can feel something special about it
The black and white photography is gorgeous, the camera movements and editing make the fight sequences spectacular, I love the use of slow motion in several of the fight sequences, there are no cinematically quiet stretches in the film
The boxing sequences are beautiful from an aesthetic standpoint, but they also serve a formal purpose as they capture the mania that is the life of Jake LaMotta. Unlike almost any other boxing film, there is little rhythm or patterns established in portrayal of the boxing sequences. In other boxing film they might show a little of each round of a fight of establish a particular visual style of rhythm, in this film the speed of the fights in sped up and slowed down throughout, Scorsese uses various angles and will use rapid zooms and go from shaky camera to steady. The fight sequences mirror LaMotta’s unpredictable and erratic behavior throughout the film
Joe Pesci is so good playing Jake’s brother Joey, obviously De Niro is incredible, but Pesci’s performance is amazing in its own right, he serves as the voice of reason for the most part although he is prone to violent outbursts as well plus frequent profanity
Cathy Moriarty as Vicky is excellent as well; she is tasked with a difficult role given the magnitude of the performances from De Niro and Pesci but she more than holds her own giving a great performance even if it’s clearly the 3rd best in the film. The build up of LaMotta’s unbearable jealousy and insecurities leads to an explosive verbal and physical fight when Vicky finally fights back. Frank Vincent is excellent as always and so are the supporting performances though it is definitely the top 3 that are the most memorable
The score, in particular the opening and closing sequences might be my favorite in any film as it captures the films the equally mesmerizing image of De Niro’s slow motion shadow boxing
Verdict: MP (my # 2 all time)
@James Trapp- keep up the good work- really like this- “The actual boxing scenes are not realistic nor are they intended to be, the cameras ringside create the sensation of freeze frames, the editing and rapid changes in angles create an experience different from any other boxing film”
@Drake – thanks, I try to do an especially thorough review for the towering Masterpieces
King of Comedy (1982)
Notes:
Starts with Jerry Langford Show (played by Jerry Lewis)
De Niro as Rupert Pupkin, an aspiring comedian with mental health issues
2:50 Jerry attacked by a crazed mob of fans as he makes way into the back of a limo
3:18 great freeze frame with Sandra Bernhard’s hands pressed up on window with blue tinted frame during opening credits
6:36 Rupert weasels his way into the Limo
10:10 Rupert is utterly relentless
11:12 to 12:12 Rupert and Jerry talk over lunch; it becomes obvious this is pure fantasy
15:25 Rupert walks into bar, green and red are dominant in mise-en-scene so far,
15:35 Rita the bartender played by Diahnne Abbott who was Robert De Niro’s wife in real life at the time, she was also in Taxi Driver as the concession stand worker that Travis tries to strike up a conversation with (and miserably fails of course)
22:55 Rupert’s continued delusion
26:04 Rupert in background of frame leaning against payphone in busy NYC street with people walking by in the foreground of the frame
28:15 nice composition, symmetrical as Rupert leans in waiting area for Jerry in middle of frame
30:15 Sandra Bernhard as Masha, an equally insane Jerry die-hard fan
31 min Rupert and Masha are equally delusional
32:24 slow zoom in on Rupert in his mother’s basement, this room replicated after The Jerry Langford Show, leading to a spectacular slow zoom out starting around 34:16, Rupert stands back to camera and gradually moves from foreground to background standing in front of black and white photograph of an audience
35:55 Rupert takes the phrase “can’t take a hint” to an extreme
36:32 slow zoom out from shot of Jerry to reveal Rupert in room, this is obvious back to fantasy
41:20 Rupert returns to the same area of the lobby upon trying to get meeting with Jerry
47:00 Rupert on far-right side of frame with noticeable gap between him and receptionist who is on left side; Rupert is cluelessly waiting for Jerry
51:06 door frame in frame as Rupert chased off screen by security
56:27 Rupert casual demeanor upon Jerry walking into his vacation home
56:54 triangle composition with Rupert, Jerry, and Rita standing in living room of Jerry’s vacation home with Rupert on left side of the frame, if you did not know better it would seem like Rupert’s house
58:20 Jerry finally tells Rupert he’s a moron, merge of reality and fantasy
1:01:14 “you did good Mr. Langford” “thank you” hilarious
1:01:28 nice use of framing as the pillar of the car divides the frame
1:03:30 casual abduction of Jerry using fake guns
1:14:30 Scorsese’s trademark “God’s Eye Point of View” as Rupert puts tape over Jerry’s mouth
1:17:53 payphone booth divides frame in half with Rupert on left side
1:19:00 immaculate composition with apartment illuminated solely by candlelight a la Barry Lyndon which is Scorsese’s favorite Kubrick film apparently
1:26:40 FBI Agents surrounding Rupert as they try to negotiate to speak with Jerry
1:28:38 deadpan interrogation is hilarious
1:32:06 title reference as Rupert Pupkin finally gets his chance for standup
1:35:48 Rupert watches his own standup in the bar Rita works at with FBI Agents watching along
1:36:36 Rupert is shockingly quite good in his standup
1:42:00 FBI arrest Rupert
Thoughts:
Scorsese really switches up here, this is fringe comedy at its finest, aside from Steve Carrell’s character Michael Scott in The Office, there is perhaps no fictional character who creates this type and amount of awkwardness and embarrassment, I know people who cannot handle this type of comedy and I get it
The most impressive visual for me was between two moments: the first occurs a little past 30 min there is a slow zoom in on Rupert in his mother’s basement, this room replicated after The Jerry Langford Show, leading to a spectacular slow zoom out starting around 34:16, Rupert stands back to camera and gradually moves from foreground to background standing in front of black and white photograph of an audience. The other occurs at the 1:19:00 when Jerry is tied at Masha’s apartment which is illuminated solely by candlelight a la Barry Lyndon which is Scorsese’s favorite Kubrick film apparently
The film certainly works as a critique of so-called celebrity culture and fame, Jerry is of course hounded and stalked non-stop throughout the film by fans who are not capable of setting reasonable boundaries and lash out when they are not given what they deem to be adequate attention. In today’s 24/7 social media work Rupert might be a YouTube Superstar
One of the formal aspects of the film that impressed me was the merging between fantasy and reality that occurs toward the middle of the film, there are a number of fantasy sequences early on where Rupert imagines Jerry and him talking shop and sharing meals but the back and forth between fantasy and reality finally merges about halfway through when Rupert takes Rita to visit Jerry at his vacation house, the first time watching this I assumed it was just Rupert’s imagination
It’s a great performance from De Niro, so different from any of his other roles and like I said above cringeworthy to the put that some people I know cannot get through this film, I like De Niro’s comedic abilities; funny enough Meet the Parents (2000) is actually the first film I saw De Niro in. I was 11 or 12 and watched in hotel room during family vacation, my parents were amused by De Niro’s performance and really just his presence in a film like that, naturally I did not get why they were amused by it until years later
Verdict: MS
* sorry I meant to say “cringe comedy” not “fringe comedy”
After Hours (1985)
Notes:
Starts with aggressive zoom in on the Griffin Dunne character, Paul Hackett, who works a dull office job
3:35 zoom out from Paul who is reading a book sitting inside a Diner, Paul moves to the background of the frame with the Rosanna Arquette character named Marcy moving into the foreground of the frame
5:22 close up on Marcy, shot reverse shot close up on Paul as they strike up conversation
8:18 shot of clock
8:58 soft focus shot
11:22 Scorsese triple edit
11:38 deep focus with Paul at bottom of stairs in background of the frame
16:56 a two shot with Paul and Marcy’s roommate
18:48 red background in frame
19:15 Marcy in angelic white clothing, surrounded by red throughout the frame
21:41 ticking noise as camera floats through apartment
23:50 two-shot of Paul and Marcy in foreground and a reflection of them in the background via mirror, shortly after Marcy tells Paul horrific story about sexual assault, dimly lit room with shade of red
26:24 low angle tracking shot as Paul and Marcy walk into a Diner
31:40 dim red lighting
33:28 reverse tracking shot through street
34 min green/blue tinted frames
34:36 police officer appears out of nowhere the second Pal tries to get on subway without token since he’s 3 cents short
39:49 cash register won’t open of course
41:13 Paul enters dark apartment building, shadows that look like prison bars in background of frame
43:33 low angle shot repeated from earlier
51:43 high angle shot of empty street
54:55 yellow and pink in mise-en-scene
57:50 ridiculous coincidence as bar tender is boyfriend of Marcy
1:06:01 Paul enters club that has a rave like environment
1:14:02 Paul chased by mob of people after Gail tricks him walking into street
1:14:40 shadow over Paul looks like prison bars, he feels trapped and hunted
1:20:10 Paul runs again in streets after trying to take down Burglar signs with his face on it
1:22:50 beautiful use of lighting in bar
1:23:50 nice foreground/background work
1:26:16 camera moves counterclockwise in bar
1:31:11 hidden in newspaper sculptor
1:34:30 Paul returns to his desk for the opening scene and the camera flies though the office
Thoughts:
Several reviews have described this as Kafkaesque, and that is true to a certain degree though I tend to associate that term with a bleak and repressive atmosphere. For me this is more like a bizarro NYC version of Alice in Wonderland; you have an array of colorful characters. Griffin Dunne’s Paul serves as the narrative vehicle playing the “straight man” so to speak while constantly running into a multitude of characters who are neurotic, bizarre, or just flat out crazy. This feels quintessential to the 80s with punk rock culture, rave party scene, mohawks, etc. Interestingly the film still has the gritty NYC atmosphere even though overall the film could be labeled as surreal, I love the reference to Edvard Munch’s “The Scream”. There is some expressionism at work with shadows in a couple of scenes including a shot where Paul enters a dark apartment building, and the shadows resemble prison bars
The film is an odyssey of sorts, the Streets are often empty and eerily quiet in many of the sequences while the Griffin Dunne character desperately tries and fails to get home due to a bizarre series of unbelievable events and coincidences. The film is structured with a series of vignettes. It is atmospheric and ideal to watch late at night, in fact I would not watch it at any other time. I have had issues with insomnia before, so I know that strange feeling when you find yourself wide awake in the middle of night
It’s funny the way Paul becomes a wanted man after a vindictive Julie draws his face and distributes throughout the neighborhood on yellow poster paper. Paul is not really presented as a bad guy exactly maybe a little rude here and there and you could maybe argue he displays cowardice in leaving Marcy although from his perspective he just wanted a possible casual encounter and a little excitement to his life and all of the sudden he’s become a Hitchcock like wrong man on the run
Scorsese’s obsession with the color red continues, especially in the first half of the film with sequences in Marcy’s apartment. In fact, the use of color in the mise-en-scene is impressive throughout, there is a segment with yellow and pink, another with green and blue tint near the subway. I love the yellow “Burglar Signs” that have a picture of Paul and are posted throughout the neighborhood which adds to Paul’s feelings of paranoia although its not paranoia if they really are out to get you
The film has inspired many different interpretations, some believe it has a connection to Scorsese’s career at that point in time as he tried continually to make a lifelong passion project with Last Temptation of Christ (1988) that he would eventually release 3 years later but at the time Scorsese apparently was feeling like a failure as it looked like Temptation would never be completed
This film shows offs Scorsese’s underrated range and depth
Verdict: MS
Love love LOVE seeing an MS here (and seeing such well-written notes, of course)! I’d personally go as far as to say After Hours was cleanly better for me than King of Comedy due to it featuring more scenes of impressive visual direction and more impactful editing. That said, I’ve only seen both once and KoC’s depth and thematic work may mean that after rewatch it will improve substantially in my estimation. Either way though, love seeing this movie praised. Keep up the good work!
Last Temptation of Christ (1988)
Notes:
Starts with a quote and a fade to a red screen
Willem Dafoe as Jesus
3:45 Jesus facing away from camera with arms spread on a cross
5 min Harvey Keitel as Judas
8:35 Jesus brought out on cross and beaten and whipped
11:08 great split diopter shot
14:35 drawing of snake in mise-en-scene
18:08 Barbara Hershey as Mary Magdalene lying naked in brothel
23:03 low angle shot in tent
24:24 overhead shot of man (Roberts Blossom) carried through desert
25:17 long shot Jesus and Jeroboam sitting over cliff in desert
27:58 image of snake slithering to surface, an orange glow over Jesus
30:06 two-shot on Jesus and Judas facing each other with blue in background of frame
35 min strong acting from Defoe, “who here has not sinned?”
38:20 low angle shot of Jesus isolated in frame as he speaks before group of people
44:40 great acting from Defoe and Keitel
48:30 pan capturing the people
53:35 tracking shot of Jesus walking alone in the desert
54:33 overhead shot as Jesus sits alone in desert
1:07:38 Jesus literally rips heart out
1:08:00 the color of the frame becomes progressively more orange and then red
1:20:00 cave opening used to frame shot with Jesus facing camera looking into dark cave followed by shot of camera over Jesus’ shoulder and slow zoom in on pitch black cave
1:26:18 low angle shot, nice blocking with Jesus in center of frame
1:34:37 reverse tracking shot through desert
1:42:27 strong blocking with faces of Jesus and Judas taking up most of frame
1:53:53 painterly image with beige in mise-en-scene
1:54:50 David Bowie as Pontius Pilate
1:56:44 strong composition with Jesus and Pilate in different depths of field facing opposite direction
1:57:50 close up on Jesus wearing woven crown of thorns on his head
1:58:58 God’s Eye Point of View shot as Jesus carried on cross
2:02:55 strong composition with high angle shot from behind Jesus nailed to the Cross which appears suspended in midair
2:05:37 impressive composition as image of Jesus nailed to Cross is moved 90 degrees clockwise
2:06:48 music suspended, only voice is of a young girl speaking to Jesus in conversational tone
2:22:52 low angle shot of Paul, played by the great Harry Dean Stanton, who is preaching to a crowd about the resurrection of Jesus
2:29:29 screen fades to a solid red color
2:29:53 door used to frame Apostle entering room with red in background of door frame
2:32:10 Judas shown in another door frame shot
2:37:48 strong use of camera movement with zoom in on Jesus on the Cross, Scorsese holds frame which is final shot of the film
Thoughts:
Scorsese fulfills a longtime goal in directing a film about Jesus, unsurprisingly this was controversial subject matter upon being released
Not that it matters for the purpose of evaluating film, but I am not religious, I imagine for some people certain subject matter, especially those related to religion, race, culture, etc. can be quite emotionally taxing
This film has some strong moments with the sequence of Jesus ripping heart out and frame increasing in intense red color. There are some really strong shots during the Crucifixion sequence
The continuation of Scorsese’s use of red in mise-en-scene
The performances are really strong in my opinion, particularly from William Dafoe and Harvey Keitel
Verdict: R/HR
Goodfellas (1990)
Notes:
Starts with Pesci, De Niro, and Liotta driving in car with red lighting
1:48 insane brutality
2:07 freeze frame “as far back as I could remember I always wanted to be a gangster” the story goes back in time with Henry Hill as a teenager
6:21 freeze frame
7:28 freeze frame
9:51 freeze frame “out of respect”
10:52 pan across room showing all the food and card tables
14:58 “hey you broke your cherry” hilarious line
15:17 final freeze frame for this timeline
15:50 jump in time to 1963 with Ray Liotta now playing Henry Hill as adult in his 20s
16:50 Scorsese’s camera floating through the red lit room while Henry Hill voiceover introduces the numerous wise guy characters including some hilarious nicknames like “Jimmy two times”
20 min Pesci amazing monologue leading to “how am I funny?” scene
29:20 zoom out and change in narrator from Henry to Karen (Lorraine Bracco)
31:10 close up and zooms used when Henry picks Karen up for date
31:33 famous Copacabana tracking shot
42:35 camera pans across the room in the Wedding scene, the room is much brighter than some of the earlier sequences that consisted of camera panning through room while introducing characters, Karen has become more frequently the voice over narrator
49:27 Tommy firing shots into sky after hijacking truck, he really is like a cowboy as Pauly warns Henry earlier, Tommy later calls himself the “Oklahoma Kid” after a James Cagney film
51:02 photos as narrative
52:08 thumping score as camera slowly zooms in from exterior and then inside the bar where Billy Batts (played by the great Frank Vincent) has his coming home party after getting out of prison
54:33 “get your shine box!”
55:55 red tint in frame increases in noticeably leading to Tommy attacking Billy late at night
57:27 Tommy, Henry, and Jimmy stop at Tommy’s mother’s house, funny enough it is Scorsese’s actual mother playing Tommy’s mother in this scene, they have a nice sausage and peppers meal before disposing of Batt’s body
1:05:33 intense red color as Henry, Tommy, and Jimmy dig up Batt’s body to move, Scorsese loves to use red but this image has to amongst his best use of color
1:08:06 great use of lighting and silhouette in card room with Spider as the bar tender
1:09:10 Tommy shoots Spider in the foot for not getting his drink order fast enough
1:11:16 Spider stands up for himself saying fu*k you to Tommy leading to Tommy killing him
1:13:18 POV shot from Henry with Karen standing above him with loaded gun, cut back and forth between Henry and Karen POV
1:20:04 prison scene starts with extreme close up of Paulie chopping garlic extra thin to liquefy in pan with little oil, Vinny makes tomato sauce with veal and pork; wise guys lived in own section of prison; they bribe the guards to sneak in good food, liquor, and wine
1:22:47 nice composition with Henry in far background on right side of the frame where there is dim lighting as he is positioned to look in secretive manner which makes sense as we soon learn he’s starting to sell drugs which is something he knows Pauly will not approve of
1:28:18 Rolling Stones “Gimme Shelter” this song never will get old
1:33:27 Jimmy in nightclub livid as all the gangster’s idiotically make large purchases immediately after the heist
1:39:37 low angle slow motion shot of Tommy shooting Stacks multiple times
1:42:26 perfect song choice here with Cream’s “Sunshine of Your Love” as Jimmy inhales cigarette at bar as Henry deduces Jimmy’s inner thoughts
1:45:25 Maury’s death is quick but brutal even by this film’s standards
1:47:30 camera pan reveals two dead bodies inside the Pink Cadillac purchased by one of the members of the Lufthansa Heist, other murders connected to the Heist are revealed during montage
1:49:49 Tommy’s mother see’s him off to his ceremonial as he is supposed to be made
1:51:10 great composition great 3 depths of field with Henry in foreground inside diner, Jimmy at phone booth in parking lot and random character in background entering an apartment building
1:51:27 Tommy being “made” walking into room with Tommy facing camera and then a quick cut to Tommy POV shot as room in actually empty and Tommy is executed
1:52:52 God’s Eye Point of View
1:53:38 noticeable change in camera movements as Henry is a full-on addict by this point and “paranoid” although its not really paranoid if they are actually out to get you
1:55:27 Henry slamming on break and E-Break as his mental state is collapsing
1:56:40 camera panning faster than any other point in film
2:01:15 fast zoom in on Henry’s face after snorting cocaine
2:03:17 extreme close up on Henry Hill’s face “I knew they were cops, only cops talk like that, if they had been wise guys I would not have heart a thing I would have been dead”
2:12:50 “your murderer’s come in smiles” great line from Henry
2:19:09 Liotta breaks the 4th Wall in the court scene leading to the final shot of Hill complaining about the mundane new life he lives in Witness Protection
Thoughts:
The weak points of this film are…………nothing, nothing at all
Scorsese’s 3rd film that is a legit contender for greatest film ever made along with Taxi Driver and Raging Bull
Scorsese’s camera seems to never stop moving, certainly can see the influence on PT Anderson’s Boogie Night’s
There are no cinematically quiet stretches in this film, it is 145 minutes full of brilliant camera work from slow pans across rooms introducing characters, tracking shots, freeze frames, red infused into the mise-en-scene, rock and pop music seamlessly worked into sequences that match the mood/atmosphere, voiceover narration from Liotta and Bracco, and breaking the 4th Wall at the end
The narrative is seamless, it just moves along without a single bump, it’s a rollercoaster ride that never lets up. This is easily one of the most rewatchable films of all time given that there are absolutely no narrative lags and it has plenty of humor to balance the film’s dark subject matter resulting in a film with a atmosphere/tone that is very accessible
The erratic camera movements and zooms in the last 30/40 min is used brilliantly to convey Henry Hill’s increasing paranoia and stress level as he has an almost comical number of tasks to do in a single day
I love all the scenes and references to food throughout the film, in particular the prison scene where the wise guys bribe people to get quality food and wine for dinner
I have previously written about what I call “You Tube” movies which basically means a great film that is composed of many great individual scenes vs great films that are more “the whole is greater than the sum of its parts” which would be a film like Tarkovsky’s Stalker (1979) which in an all timer but does not have a lot of individual brilliant scenes. Goodfellas might be the ultimate “YouTube Movie” so many great sequences
The first 15 minutes are practically a short film itself. I posted this on the page for Goodfellas about 2 years ago:
“Good call on the early part of the film functioning as a film within a film. A Bronx Tale (1993) is similar, obviously it is not at the level of Goodfellas (although I think it’s a great film). So many great freeze frames, like the one where they throw the mailman into the oven for bringing Henry Hill’s family letters from his school. I think the early section works so well in setting up not only the narrative but for establishing the world Henry Hill in entering the gambling, scams, stealing, booze, and good food. The appeal of this world to the young Henry Hill character is obvious even without the voiceovers. Obviously, the film still works without the opening 15 minutes, but I think it definitely takes it to another level.”
With respect to Tarantino and PT Anderson no one is better at infusing rock and pop music into film than Scorsese
A who’s who of Soprano characters, I think there’s like 20 or 25 actors/actresses who played in both
The performances are all top notch but if forced to rank (and the top 2 are really close):
# 1 Joe Pesci
# 2 Ray Liotta
# 3 Lorraine Bracco
# 4 Robert De Niro
# 5 Paul Sorvino
Verdict: MP (my # 4 all time)
Cape Fear (1991)
Notes:
Starts with a thumping score during the opening credits which features a series of stunning shots on the surface of a body of water, possibly a lake. It is Saul Bass who does the visuals for the opening credits, he is the same person who did the legendary opening for Vertigo
3:10 lake becomes solid red and then transforms to a face of a teenage Juliette Lewis playing Danielle Bowden, the daughter of Sam and Leigh Bowden
3:54 pan down wall with books that is revealed to be a prison cell of Robert De Niro’s Max Cady
Nick Nolte as Sam Bowden, a lawyer who represented Cady in the past
Jessica Lange as Leigh Bowden, Sam’s wife
4:54 shot of Max Cady exiting prison, painterly image with gray clouds in the upper background of the frame above the prison fence in the lower background of the frame that resembles shots from a film in Scorsese’s future with Shutter Island (2010), the frame is held as Max Cady walks toward the camera increasing in size
12:28 “you’re going to learn about loss” Max Cady threat
13:24 series of nice split diopter shots
14:10 fireworks outside bedroom with flashes of night
15:07 nice compositions with mirrors and screen fades to solid red
15:45 spectacular shot of Max Cady sitting on fence with fireworks in background of frame
28:38 camera pans Max Cady’s body tattoos which contain series of religious and philosophical quotes
30:22 God’s Eye Point of View and thumping score
36:24 brutal rape scene is hard to watch
38:10 two shot of Sam and Robert Mitchum character, Lieutenant Elgart, in hospital room
43:18 references to film noir PI like Sam Spade
53 min Max confronts Leigh just outside her house
56:16 zoom out on pink telephone in Danielle’s room as Cady talks to Danielle using the ruse of being a teacher leading to an eerie scene between the two
1:09:58 screen split with Sam on right side of frame, his family blocked off by wall on left side of frame
1:14:50 Max Cady takes brutal beating before turning the tables on the 3 men, several strong zooms and quick edits in this scene
1:19:35 Cady turns table again by hiring a top criminal career before Sam Bowden can
1:24:12 extreme close up on Sam’s face showing the anguish Cady’s putting him through
1:25:30 low angle shot of Cady watching on in airport with bright pink color in back of frame
1:27:03 painterly image with a reddish-brown sky as Sam’s family returns to residence
1:34:50 great shot capturing dream sequence with Cady in a blurry black and white night vision
1:37:51 aftermath of brutal violence
1:38:09 Sam slips in puddle of blood
1:39:52 Max Cady holds on to the underside of the Bowden’s car
1:40:05 shot of water similar to opening credits, a blurry “Cape Fear” sign visible
1:42:02 painterly image with red/purple sky and Bowden family on their boat
1:44:38 of course Max is on the boat
1:47:00 more than human speech from Max as bright red light illuminates the frame
1:52:00 Danielle sets Cady on fire
1:54:00 Max sets bizarre trial forcing Sam to admit he buried a report that could have helped Cady get off on his charges
2:00:05 Max floats away and presumably dies; he goes out speaking in tongues and then starts singing
Thoughts:
Scorsese with a remake of 1962 film. The Scorsese version is far superior in my opinion, De Niro is near equal to Robert Mitchum in my opinion, its close anyways but the Scorsese version is clear cut better in every other way although to be fair I have only seen the original one time so perhaps a rewatch is necessary at some point
Saul Bass, who did some of the visuals for Hitchcock opening credits including possibly the greatest opening credit scene ever with Vertigo does a splendid job
This is a very over the top film with the thumping score, accelerated pacing in the 2nd half, and most importantly De Niro’s performance, Max Cady almost seems like a Supervillain at times; he is extremely physically imposing from his 14 years of working out in prison but also cunning as he continually gets the best of Sam and anyone who works with Sam as Cady is always a step ahead. There is a scene where he follows Sam’s family, who is getting out of town, by holding on the underside of their car for a long-distance drive. The final 20-25 min on the boat push the bounds of plausibility of courses but it is fitting given everything that comes before it
Some great split diopter shots with Sam and Leigh, their marriage has some issues unlike the original version, and Scorsese’s film is better for it as Sam is a flawed albeit sympathetic individual
Some beautiful shots, the firework scene with Cady sitting on fence, Spanish Moss Trees, and there is an impressive painterly image when Cady exits the prison, Scorsese holds the frame as Cady walks toward camera getting progressively bigger and bigger, it’s a sort of twist on breaking the 4th Wall as it’s like Max Cady is coming after you (the viewer)
Verdict: MS
The Age of Innocence (1993)
Notes:
Starts with gorgeous opening credits, superimposed images of flowers and other beautiful images
The 2:40 to 1 aspect ratio stands out immediately
The 3 lead performances:
The great Daniel Day Lewis plays Newland Archer
Winona Ryder as May, Archer’s fiancée
Michelle Pfeiffer as Countess Ellen Olenska
3:10 Set in New York in the 1870s, starts in Opera House
Incredible cast with Daniel Day Lewis playing Archer
5:52 high angle shot from back of heads in Opera House
8:18 narrative voice over
9:39 low angle shot of characters entering ballroom switches to high angle shot as characters walk toward camera
10:33 great tracking shot as Archer moves through mansion
11:25 tracking shot
15:18 God’s Eye Point of View at dance
16:36 camera slowly panning through house capturing its grandiose appearance
19:03 shot of town which consists of several huge properties
24:52 fade to red similar to Bergman’s Cries and Whispers
26:30 Countess Ellen in stunning red dress
27:10 slow zoom on extravagant dinner table
32:38 frame divided
33:33 back and forth shots of Archer and Ellen isolated in frame speaking to one another
36:16 gorgeous shot inside flower shop
36:39 dissolve edits and shots of Archer writing on small cards
37:07 frame fades to solid yellow color
40:36 nice dissolve on left side of the frame while right side remains unchanged
44 min extreme closes ups on faces of Archer and Ellen who are presumably to talk business
49:39 two shot during Opera and then Archer walks out leading to great pan and dissolve edits showing Archer on the move then working
50:53 long shot, first of the film
55:10 Archer tries but tunes out much of conversation with May who senses he may not be as committed as he wants her to believe
1:00:55 red flowers and red background on wall, camera moving in circular motion
1:03:14 conversations are all subtext
1:06:00 Archer and Ellen finally speak direct and honestly to one another
1:16:22 this red Lighthouse shot with Ellen standing at the end of the boardwalk is not only the most beautiful shot of the film so far but perhaps the most gorgeous shot of any Scorsese film so far, at least in terms of this type of painterly image, it is truly a museum worthy image
1:17:03 medium shot of Ellen near the water
1:18:00 camera moving clockwise capturing Newland stressed out during meal
1:31:15 frames created from candles on dinner table, symmetrical shot
1:45:32 dark blue and black clothing is a noticeable contrast from earlier scenes
1:46:04 May in white dress attending Opera similar to opening scene of the film only the upper section where Ellen was seated in opening was empty
1:51:43 pan over table during desert and then pan in opposite direction followed by a slow zoom out
1:55:15 the back of Archer’s head isolated in frame surrounded by solid red, this during Ellen’s final meal before departing from New York
1:57:44 Archer isolated in far-left side of the frame as he sits in his study by the fireplace after the dinner
2:05:00 significant jump in time with Archer now a father
2:07:35 excellent deep focus shot inside Museum
2:08:18 Archer learns from his son that May, who recently passed away, was aware of his love for Ellen
2:11:39 flashback to sailboat scene in middle of the film before Ellen leaves New York
Thoughts:
Scorsese switches up here, on the surface anyways. I love how he explores various cultures/sub-cultures with high level of details almost like an anthropologist
This may be Scorsese’s most beautiful film with stunning imagery and Museum painterly shots that would seem in place in a Visconti film, in particular The Leopard or Kubrick’s Barry Lyndon
The mise en scene in this film is awe inspiring between paintings, intricate interiors of mansions, tables, chairs, flowers, candles, and extravagant meals
Scorsese’s use of color, specifically associating May with green and Ellen with red is consistent throughout the film. Several times Scorsese fades the screen to a solid color including red similar to Bergman’s Cries and Whispers (1972) although this is not used consistently throughout the film like it is in Cries and Whispers
One of the elements that impressed me was the framing of Archer throughout the film, while Archer’s emotions come close to boiling over several times, he usually composes himself well enough though he still shows more emotion than pretty much any other character aside from Ellen. In several scenes throughout the film, he is able to (barely) suppress his emotions during meals, parties, etc. and Scorsese shoots him isolated in the frame in a number of these sequences as a way to show his frustrations
Like Casablanca (1942) and In the Mood for Love (2000), this is a great film about unrequited love although that phrase is a little misleading as it implies one way love. In this film and the two films referenced in the previous sentence there is two-way love, but with particular circumstances preventing the love from being realized. So perhaps unrealized love is more accurate but that’s just semantics
Because these characters live in a world where direct conversations and showing emotion is looked down upon, for many of the conversations it is all about the subtext, this is what matter. Much of the time what is NOT said in a conversation is more important than what is said
Scorsese is known for amazing camera movements amongst many other things, but he moves the camera 360 more often in this film than others in the Study so far or at least this is the first film I noticed it. As usual with Scorsese there are great pans, in this film capturing the intricate interiors of the lavish mansions and the and a very strong tracking shot around the 10 min mark where Archer walks through the mansion during a ballroom dance
The performances are excellent all around, but Daniel Day Lewis and Michelle Pfeiffer are especially great, Ryder is solid and plays her role well, but it is not quite as complex a role as the DDL and Pfeiffer characters; DDL plays Archer as a morally upstanding man conflicted by circumstances, in particular societal norms of the time, preventing with from openly pursing Michelle Pfeiffer’s character despite the mutual attraction, the scene where they finally do speak to each other openly is an emotional crescendo and perhaps the best acting in the film from both DDL and Pfeiffer
The red infused Lighthouse shot is one the most beautiful painterly images in any Scorsese film or really any film for that matter, it is impeccable
Verdict: MP
@James-Scorsese borrowed a lot from Visconti’s L’Innocente(1976) for Age of Innocence. If you haven’t seen that film make sure to watch it.
@Anderson – had not heard of it before, thanks for the suggestion. After Scorsese I am planning on doing Cronenberg or Fritz Lang, perhaps Visconti after that. Rocco and His Brother’s is my favorite Italian film
My favourite Italian film is The Conformist(1970)
@Anderson – yeah i finally got around to that one in the last year or so, amazing visuals of course, also interesting thematically, so many great political thrillers in the 1970s. Its not on the same level cinematically but Investigation of a Citizen Above Suspicion (1970) is a fascinating film that would make a good double bill with The Conformist, both came out the same year, 1970, and share thematic similarities though Citizen Above Suspicion is lighter in tone and is partly satirical as the story revolves around a high ranking police captain who murders his mistress and then intentionally leaves clues that lead back to him in an attempt to test out the limits of his power in the corrupt poliltical establishment of the time.
I will look out for this one.
Casino (1995)
Notes:
Starts with De Niro entering car as bomb goes off leading to tremendous opening credits from none other than Elaine & Saul Bass. Saul Bass might be the best ever at this, he’s the genius who did the opening credits for some of Hitchcock’s best working including Vertigo, North by Northwest, and Psycho
3:20 low angle shot of De Niro’s character Sam “Ace” Rothstein narrating
3:55 Joe Pesci’s character Nicky Santoro narrating
4:32 pan over open desert, full of bodies
6 min camera track flow of money
12:40 overhead shot of Ace walking through Casino
16:15 brutal violence from Nicky with the pen
20:58 shallow focus as camera zooms in on Ace to close up
22:18 Sharon Stone’s character Ginger makes appearance
23:50 freeze frame on Ginger and then reaction shot to Ace who soon falls in love with her
26:56 James Woods as slim ball pimp Ginger is in love with
35:07 great sequence as Ace catches cheating card players
36:12 camera floating through Casino capturing atmosphere
40:50 De Niro is so on top of his game at work, interesting to see his struggles with his relationship with Ginger
45:28 “What a Difference a Day Makes” by Dinah Washington plays as Ace shows new house to Ginger
48 min bright yellow suit worn by Ace
49 min zoom in toward Ace smoking cigarette at club, flashy green suit, Ace narrating through all this
51:51 split diopter shot as Ace talks to Nicky on phone
58:43 nice two shot with Ace in foreground smoking cigarette and Nicky reading his ban letter, left side of frame smoke filled and blue lighting
59:57 great pan with Nicky narrating and introducing his new crew featuring several new characters including Frank Marino, played by the great Frank Vincent; all this to Rolling Stones’s song “Can’t Hear You Knocking”
1:03:08 a QT truck POV shot
1:06:19 Nicky scenes with his young son humanizes him a bit
1:06:52 nice composition back in Midwest with lighting peeking into otherwise dark room with the Head Boss Remo and other Midwest Mob Bosses talking business
1:08:55 brutal sequence involving human head and vice
1:09:30: Ace firing incompetent Casino worker
1:11:20 “equal amount blueberries in each muffin” Ace is a true perfectionist
1:14:00 Ginger put under surveillance
1:15:02 camera quickly pans showing Lester realizing he’s in trouble
1:20:34 Ace with blue shirt, continuing his penchant for flashy suits
1:24:02 wide screen, opposite ends of frame showing marital strife as Ginger is already having issues with drugs
1:25:23 canted angle as Sam tries to comfort his depressed wife, I had not noticed this angle before
1:27:00 I love the darkness surrounding the Midwest Bosses as they talk shop
1:29:28 low angle shot with bosses again in dark room
1:32:16 frame in frame in frame with blue lit background as Nicky talks in code on the phone with Sam
1:34:00 Nicky threatens poor Charlie the Banker
1:36:32 Nicky calls out Same’s pink robe and cigarette holder, hilarious
1:37:47 great montage set to Gimme Shelter starting with rapid zoom out to god’s eye view shot at night, great composition with shadows of police at crime scenes then shot of wealthy couple dead while camera moving 360 while zoom out
1:39:52 Nicky brilliantly purchases counter surveillance equipment to handle all the cops and Feds watching him including hilarious scene where Nicky and buddies hit golf balls at helicopter driven by FBI Agents watching over Nicky when the helicopter runs out of gas
1:48:58 slow zoom in on Ace with neo lights in background as Ace creates a show being denied a gaming license by the corrupt committee
1:50:50 back and forth between Ace and Nicky talking on phone using coded language while Feds listen in
1:51:29 literal spotlight on Nicky
1:52:34 phenomenal score from Godard’s 1963 masterpiece Contempt, high angle shot of Nicky traveling in car
1:52:48 brilliant shot using the reflection off of Sam’s sunglasses captures Nicky’s car driving fast and leaving dust
1:55:02 long shot of Ace in middle of desert
1:55:25 god’s eye shot of Ace’s crew entering the club while Nicky sits at the club with his crew
1:57:47 two-shot with Nicky and Frank of right side of frame as Nicky plays blackjack
1:59:18 two-shot with Ginger in foreground and Ace in background as they are at office with divorce lawyer, surrounded by darkness
2:00:47 extreme close up of Sam’s face taking up 50 % of frame
2:00:48 impeccable lighting in shot of Sam in dark garage with green
2:00:05 despite their issues Nicky shows some compassion for Sam and his personal issues regarding his family
2:07:35 the score from Contempt (1963) returns as Sam and Ginger get dinner in public
2:17:28 Ginger and Nicky start affair, nice series of brief freeze frames as FBI Agents who are performing surveillance on Nicky take pictures
2:22:18 freeze frame on Frank Marino as he talks to the big boss Remo, Frank lies for Nicky about his relationship with Ace’s wife Ginger as this is bad for business and thus dangerous for everyone
2:23:20 again with “Gimme Shelter”, this time during montage of Nicky’s Crew falling apart in Vegas due to drugs, booze, etc.
2:23:39 close up on cocaine moving through rolled up money
2:24:20 overhead shot after killing guy after mistaking his “hero sandwich” for a gun
2:26:30 slow pan in the club
2:33:33 brief silence for a few seconds which does not sound like that long but Ace waits inside for Ginger
2:40:00 arrests begin as it all starts to fall apart
2:42:00 “House of the Rising Sun” begins as Feds show Sam pictures of Ginger and Nicky
2:42:45 Remo and high up bosses meeting in Courthouse after being arrested Remo “Why Take a Chance?” leads to montage of murders
2:44:58 camera floats through seedy hotel as Ginger exits room and dies from overdose
2:46:24 high angle shot of Sam in Flamingo Red Suit walking to his car, this is scene from the film’s opening
2:47:00 double edit as Nicky’s narration is cut off along with music; Nicky and brother are beat to a pulp by Nicky’s own crew with metal baseball bats out in a cornfield then Nicky is buried alive next to brother
2:48:48 god’s eye view of bodies in cornfield
2:49:40 another overhead shot, this one of Ace surviving assassination attempt via car bomb
2:50:15 Opera music playing as Tangiers blows up and crumble as Ace narrates the destruction of that era of Vegas and laments on the bygone era
Thoughts:
This film is unfairly underrated by some who seem to hold against it the fact that it is not as great as Goodfellas (1990) which is a ridiculous standard
I love the high level of detail regarding how “The Skim” works, Scorsese does this tracking the flow of the cash and the hierarchy of and innerworkings of the Casino
The camera is incredibly active and extremely effective in capturing the atmosphere of a casino. The heavy use of character narration is also effective in that Scorsese can keep up the active camera as well as the heavy use of pop/rock music even by Scorsese’s standard
It’s interesting watching the evolution of Joe Pesci over his 3 Scorsese Gangster films; Goodfellas, Casino, and The Irishman. His character in this film is similar but far from a carbon copy of Goodfellas (1990) yes, the violence and brutality is present here but his character is a much higher ranking mobster and a much more intelligent character than Tommy from Goodfellas. His violence here is more calculated than impulsive aside from the brutal pen scene. In the Irishman he does not have a single outburst, in fact, on the contrary he is calm, observant, and never once even threatens someone.
There’s really no doubt that Goodfellas, Raging Bull, and Taxi Driver are Scorsese’s best 3 films in whatever order so the more interesting question to me is what his 4th best film is. Unless there is a huge surprise later in this Study, I have to imagine that the contenders in some order would have to be this film along with Age of Innocence, Mean Streets, The Departed, and The Irishman. Will have to seriously think about this throughout the Study
The performances are tremendous, I used to think De Niro’s performance was on par with Pesci’s and it is very good, but Pesci is superior although Pesci does not give the film’s best performance either, that belongs to Sharon Stone as Ginger. Stone is incredible as a dynamic character who is ultra confident on the surface but is vulnerable and broken in ways that become exposed over the course of the film. I will admit that the constant fighting between Ace and Ginger, the marital strife, does feel repetitive at times but that has nothing to do with the acting which is excellent, none the less its an overall very minor critique
Best Performances
# 1 Sharon Stone
# 2 Joe Pesci
# 3 Robert De Niro
# 4 Frank Vincent – he does not talk all that much despite a fair number screen time but gives an effective performance none the less and is great in the final brutal ending
# 5 James Woods – his character Lester you want to punch in the face every time you see him on screen, when you hate a character that much its usually indicative of a great performance
Ace makes for an interesting character study; the flashy suits are interesting because his character does not really seem like someone flashy as they seem contrary to his personality and demeanor. He is a perfectionist and holds his employees to high standards, I love the scene with the Blueberry Muffins “an equal amount of in each Muffin” hilarious. He is quite stubborn at times, but he is so good at his job that Midwest Mob Bosses don’t get rid of him even when he’s doing things like going on TV and publicly challenges committee members
One aspect of this film that I did not really pickup on before was the use of lighting in many scenes, I love the shot of the Midwest Mob Bosses sitting at a table surrounded by complete darkness, the lighting in several other scenes matches the secretive nature of the scene
The House of the Rising Sun, playing during the montage of murders segues into the cornfield scene which is so brutal that you almost feel bad for Nicky despite all of the many evil things he does in the film. The way he says his brother’s name is rough. There is a great Scorsese trademark here with the “god’s eye view” of Nicky and his brother in the hole they are buried in
The energy in this film is incredible, especially considering that it’s a 3-hour film, the opening credits from the great Saul Bass is impeccable with its grand images and music. The narrative never lets up start to finish leaving us with an all-time great film
Verdict: MP (Top 100 Film All Time)
@James Trapp – love the praise for Saul Bass’ credits – and love this “# 5 James Woods – his character Lester you want to punch in the face every time you see him on screen, when you hate a character that much its usually indicative of a great performance”
Agreed, easy MP, the filmmaking is undeniably great in Casino. I used to actually hate it because of how much narrating is in it, but on a rewatch changed my mind on it. 1995 is an insane year, because in my opinion this is the third best film of that year behind Heat and Seven. Heat is on another level, in my opinion
@Dylan – The multi-narrator approach is interesting but in a way fitting to this particular narrative. Goodfellas (1990) used Ray Liotta as the primary narrator with occassional narration from Lorraine Bracco. Goodfellas had a smaller scope telling the story of Henry Hill, its more intimate whereas Casino (1995) is a story with a larger scope, telling the story of the Mob involvement in Las Vegas, even its a semi-fictionalized version. The first hour of the film plays out like a documentary drama so the multiple narrators feels appropriate. This narration heavy approach blends nicely with the heavy use of rock and pop songs (even by Scorsese standards), and the frequently moving camera (even by Scorsese standards).
The multiple narrators also pays off in the legendary Corn Field Scene as the narration from Joe Pesci’s Nicky is interrupted mid-sentence as Frankie hits Nicky in the back with a baseball bat leading to the brutal murders and burial.
Will you be able to see Killers of the Flower Moon(2023) before updating this Scorsese page?
@Anderson- Quite confident I will be able to see Killers of the Flower Moon before updating the Scorsese page – yes.
The Color of Money (1986)
Notes:
Starts with voiceover from Scorsese himself leading to opening credits
3:25 camera pans along shot glasses in bar and Paul Newman’s Fast Eddie Felson character revived from The Hustler
4:46 John Turturro
5:18 Tom Cruise as Vincent Lauria, young hot shot pool player
6:52 Vincent with some martial art movements with his pool stick, showing off with his girlfriend , played by Mary Elizabeth Mastrantonio, watching along
13 min great acting from Newman
15:51 nice use of close up
17:36 nice use of close up
19:36 shot reverse shots with several over the shoulder shots
30 min nice camera movements with low angle shots of Eddie dancing with his girlfriend Janelle
37:29 close up on pool balls followed by zoom out
39:22 nice composition with overhead shot of Vincent in pool room as Eddie watches from above on foreground on far left side of frame
45:00 slow zoom in from Carmen POV
49:12 series od close up shots back and forth between Eddie to Vincent, each isolated in the frame in these shots
55:15 nice 360 degree pan going counterclockwise during Eddie showing off in front of the pool room
57:55 two shot with Vincent blurred in foreground on left side of frame, this shifts to Eddie blurred in foreground on right side of frame
1:02:48 close up on Eddie advising Vincent on hustling players
1:04:52 more back and forth between Vincent and Eddie in frame without the other
1:06:42 nice triangle composition with Carmen literally in the middle of Vincent and Eddie
1:07:35 pool montage with Vincent beating all comers
1:13:13 extreme close up
1:13:26 profile shot of Vincent in foreground and blurry Carmen in background of frame
1:14:21 series of dissolve edits and superimposed images of Eddie over the pool tables
1:18:28 Forest Whitaker makes appearance as “Amos” playing Eddie in pool and beating him over and over, making Eddie feel embarrassed
1:25:55 intense sequence following Eddie losing to a “Hustler” in Amos
1:27:31 freeze frame
1:33:10 nice overhead shot and pan of the pool room of “9-Ball Classic”
1:33:29 beautiful shot from behind Eddie’s head in foreground to close up shot on face
1:39:05 instead of triple edit we get quadruple edit of sorts, only with four characters breaking in succession
1:43:12 another rapid paced montage of close up shots of pool balls moving
1:50:30 Eddie himself with reflection off pool ball he’s about to hit
1:52:20 line about character from original
1:54:52 beautiful composition with symmetry, use of mirrors, and décor
1:55:59 ends with freeze frame on Fast Eddie breaking “I’m back!”
Thoughts:
Initially I skipped over this one for Study, just for the purpose of time constraints but decided to go back and I am happy I returned to it, more impressive than I remembered but then again it was so long ago
This can’t really compete with The Hustler (1961) in terms of emotional power; in particular the ending as well as iconic status, and even with the impressive star studded cast and acting in this film, the performances in The Hustler are simply more impressive. With all that said Rossen is not Scorsese, and this film has some really impressive compositions
Paul Newman and Tom Cruise with a mentor/mentee relationship that works on a meta level as I could not help but think of it as a sort of passing of the torch so to speak, Paul Newman played cocky
Some great close up shots throughout the film, usually on characters faces on hands while they are playing pool, there are several sequences with shots alternating between Vincent and Eddie in the frame by themselves
Impressive lighting in several scenes in pool rooms, often green or blue tint
Verdict: HR/R
Bringing out the Dead (1999)
Notes:
Starts with man named Frank played by Nic Cage narrating as he drives an ambulance in NYC, flashes of neon colors
8:24 Taxi Driver atmosphere with drug infested city
10:16 comedic atmosphere changes mood/tone a bit
15:07 nice use of intense orange flashing
16 min Frank see’s ghosts of those he failed to save
25:48 long shot of ambulance moving at night, set to rock song that seems tonally inconsistent from the action on screen
28:08 Tom Sizemore, great cast
31:40 religion iconography in mise en scene
43 min bizarre sequence with man brought back from near death after drug OD
46:36 shallow focus from Frank POV
54:28 nice writing in scene similar to Taxi Driver with Frank and Marcus (Ving Rhames) driving around city at night, Frank narration on city obviously Travis Brickle similarities
1:07:52 solid red wall in apartment room, down the hall is another room with a wall that is solid green color
1:13:49 low angle shot of Frank isolated in dream like state with everything around him in slow motion; so far this is the standout sequence of the film, Frank sees Ghosts who appear on screen when disappear with dissolve edits
1:21:28 blue tint frame
1:23:46 Frank riding along with Sizemore character, Scorsese speeds up the shot here
1:24:30 great camera tilt as ambulance accelerates down the street with 90 degree angle change
1:27:49 again the film speeds up considerably when Frank drives with the Sizemore character, Scorsese himself is voice over radio
1:29:45 nice use of blue lighting as spotlight
1:42:16 nice split diopter shot with Cage and Sizemore
Thoughts
Scorsese and Schrader team up with a sort of Taxi Driver redux
I have never been shy in my dislike of Cage, the only film I ever liked him in was John Woo’s Faceoff (1997) and that is mainly because his persona works perfectly for Woo’s ridiculously over the top style, perhaps there are a few other roles I don’t mind him in but I am not exactly his biggest fan, he is serviceable here but that’s it. Thankfully there are some great performances from the supporting cast, I love Sizemore and Ving Rhames does solid work here and of course the great John Goodman who never lets me down
Comedic atmosphere mixed in with semi-dysfunctional hospital staff
The comedy infused into the drama does not always work as the film does feel totally inconsistent at times although I do love Scorsese using The Clash songs (London Calling is one of my go to wakeup songs on my alarm)
Impressive use of lighting in much of the film, white lighting often used in some of the scenes with Marcus played by Ving Rhames
Rescue Me is a terrific comedy/drama that ran from 2004 to 2011; the basic premise focuses on a NYC firefighter who sees and speaks with the ghost of his best friend who died on 9/11. He sees and speaks to other victims during the show, I can’t help but wonder if this film served as an inspiration
There are some strong moments but overall is a lesser Scorsese film, this might have been stronger as a 90 min film
Verdict: R
Gangs of New York (2002)
Notes:
Starts with Liam Neeson character name Vallon addressing his young son and then comes a tracking shot set to a drumbeat as Vallon, head of a gang called The Dead Rabits, makes his way to the outside
4:45 Brendan Gleeson character kicks open door
4:50 nice use of door frame and zoom out as Vallon
6:05 Daniel Day Lewis makes his first appearance as a gang leader named “Bill the Butcher” who leads “The Natives”
7:36 Bill’s crew face off with Vallon’s “Dead Rabbits” which consists of Irish immigrants
8:42 brutal battle with meat cleavers, knives, wooden clubs, etc.
9 min rapid edits, slow motion shots, low and high angle shots during intense 2 min scene
10:40 Bill delivers fatal blow to Vallo as his son watches on, color palette thus far heavy use of shades of gray and blue
14:56 slow zoom out until overhead shot of NYC followed by title card 1846 and we see Vallon’s son, Amsterdam, now played by DiCaprio
16:40 beautiful use of fireworks in background during low agnel shot of Bill the Butcher walking into the city
18:38 William Tweed
24:52 camera floating around as Johnny Sirocco (played by Henry Thomas) catches Amsterdam up on the local gang politics
35 min camera moving around capturing atmosphere in gambling house
38:48 heavy fog with blue/gray palette as Amsterdam now working with Johnny for Bill
42:36 nice shot with huge meat splitting the frame as Amsterdam and McGloin prepare to bareknuckle box following a series of insults directed at Amsterdam
45:30 reverse tracking shot with Bill bringing Amsterdam into his crew
47:47 split diopter shot
56:31 Bill in right side foreground and opened up pig on left side foreground, American Flag in background behind Bill. This leads to great scene with Bill teaching Amsterdam “this is a kill” “this is a wound” “this is a kill”
1:11:38 boxing match ends with KO in the 75th round
1:12:42 zoom out
1:18:00 “I’m going to teach you to speech English with this knife” Bill after assassination attempt fails
1:19:24 canted angle
1:20:15 Brendan Gleeson’s character Monk literally overpowers DiCaprio’s Amsterdam
1:25:36 shot of Bill wrapped in American flag, this shot, and the following scene is most indelible moment of the film for me as it’s the first image I remembered from this film which I had not seen in over 10 years
1:36:16 orange/red tint throughout frame matches the intensity of Bill manhandling Johnny
1:36:58 pan across room with primary colors worn by Asian performers a contrast to the yellow/orange tint throughout the frame
1:41:01 Bill knife throwing exhibition
1:44:53 tension finally boils to surface with Bill taunting Amsterdam’s father Vallon upon Bill’s discovery of Amsterdam’s true identity
1:46:34 slow motion knife throwing mixed with series of low angle shots
2:03:50 quick cut from Johnny’s death to Bill sharping knives
2:04:48 quick cut from inside Church to Bill and the Natives marching in the street
2:05:32 face to face Natives vs everyone else
2:16:19 nice composition with 3 depths of field
2:16:27 camera zoom through opening doors
2:17:45 “challenge accepted”
2:19:30 great back and forth acting with the casual manner of negotiating the gang fight
2:28:05 drum noise from opening sequence
2:28:42 gangs come face to face in the street
2:31:27 overhead shot with Bill and Amsterdam only two people in the frame
2:33:53 extreme close up on Bill’s glass eye shutting during his death
2:37:05 dissolve edit with change to modern day NYC
Thoughts:
Scorsese with an ambitious film that has tremendous highs and an all time great Daniel Day Lewis performance
I really do love most of DiCaprio’s work but this one is an exception, I think Matt Damon or Colin Farrell would have been superior here, especially Damon
There is a hilarious spoof in Anchorman (2004) of this film
Perhaps the best scene in the film features no physical violence, it occurs about halfway through as DiCaprio’s Amsterdam wakes up in whorehouse and look’s over to Bill who is wrapped in an American flag, the following conversation ramps up the tension subtlety. Bill is usually surrounded by his crew, so this quiet scene stands out with DDL immaculate acting. There Will Be Blood is the clear # 1 but this might be Daniel Day Lewis’s 2nd best performance, it’s between this and Phantom Thread in my opinion. It’s been a while since I have seen Lincoln so I will need to revisit that one. Bill the Butcher
The DiCaprio performance is better than I remember but still one of his weakest performances, Cameron Diaz is a strange choice, I do like her in Vanilla Sky (2001) and some 90s comedy’s but not sure she is the best fit here although the performance is not as bad as I remembered it being, too bad Amy Adams was not well known yet
The run time is not entirely justified, this story could be told in 25-30 less minutes
The last 30 minutes were a disappointment, an abrupt ending, a bit of a mess. In some ways closer to a Spielberg film than Scorsese. The fading of that era to modern day NYC was an odd choice
Despite its flaws DDL is so good he practically makes it worth watching just for his performance alone. The 1st half was much stronger with a brilliant opening 15 minutes setting up the narrative and revenge story
Verdict: HR
DiCaprio is worse than Diaz in this film. Strange to say that. But I think true. For most of the run time he has this angry desperate look. His work in Spielberg’s Catch Me If You Can released in the same year is leaps and bounds better.
@James Trapp- Keep up the good work. Hard to put into words how pumped I was to see this in theater in 2002
The Aviator (2004)
Notes:
Starts with strange childhood scene
2:32 Howard Hughes now an adult played by DiCaprio
4:46 segues to a party sequence, light blue tint through frame with hint of light reds
5:17 close up profile shot of Howard’s face taking up half the frame
7:36 jazz music playing
10 min Howard charming cocktail waitress
11 min light red and light blue again dominate mise en scene
14 min Howard walking and talking, reverse tracking shot, more light blue and red in mise en scene
17:32 beautiful shot interior of nightclub, same use of color in mise en scene
19:03 low angel shot of Hughes in film room by himself making notes, first signs of eccentricity when he orders 10 chocolate chip cookies with “none of the chips too close to the outside”
25 min Howard watches Hells Angels in movie theatre
27:42 over the shoulder shot from Howard POV as he speaks to Katharine Hepburn on a beach and invites to play golf, Cate Blanchett as Hepburn is perfect
30:40 blue and silver color palette here with plane taking up half the frame
37:23 quite a first date, Hughes takes Hepburn flying over LA even putting her as the pilot
46:03 POV from inside plane, later cuts to low angle shot of plane head toward ground
53:10 black and white footage of Howard Hughes
57 min OCD on display in bathroom
59 min Howard eats with Katharine Hepburn’s lunch with the Hepburn’s, this should be turned into a TV series
1:02:00 Howard finally stands up for himself after being runover by the Hepburn’s
1:03:45 blue glare in film room from background of frame
1:06:00 Howard Hughes breakdown of “mammaries” is hilarious during the meeting with the censorship committee, maybe the scene runs a bit too long but still
1:10:00 min argument between Hughes and Hepburn regarding
1:17:00 break up with Katharine Hepburn
1:19:14 bright orange frame with fire in foreground and Hughes in background following break up with Hepburn
1:20:06 superimposed image of Howard on phone with his manager (John C Reilly) with Howard on right side of frame, starting to show signs of paranoia
1:21:58 high angle shot of Howard interviewing women in dark warehouse
1:27:07 bathroom green décor, a number of POV shots in this scene as Howards OCD is getting worse
1:31:00 Willem Dafoe makes an appearance as possible Communist synthesizer
1:32:00 Alan Alda and Alec Baldwin
1:35:23 Howard’s current girlfriend angrily drives her red card into the green car Howard is currently driving with the gorgeous Ava Gardner, the car colors are no accident, red is often associated with both passion and violence so it’s telling the red car is driven by the spurred girlfriend
1:40:40 close up shot of Howard sitting in car, both Howard’s suit and car interior are brown
1:43:33 classical music predominant
1:45:55 orange and red dominates frame during plane crash, the lighting is particularly impressive during this sequence
1:54:54 Howard walking with Kane now, no longer has the same youthful aura to him
1:59:50 Hughes eats in the home of Senator Ralph Owen Brewster (Alan Alda) who bullies and tries to intimate Hughes including a scene where the Senator, who is aware of Howard Hughes OCD, serves fish with the head still on and a glass of water with a visible fingerprint; this scene reminds me a bit of the scene in Chinatown when Nicholson’s JJ Gittes eats with Noah Cross
2:03:20 Hughes with breakdown after exiting meeting with the Senator, followed by black and white shot of Senator speaking to media
2:06:00 intense red light looking like a scene from David Lynch’s Lost Highway (1997) as Hepburn stands outside his locked room
2:09:17 overhead shot of the start of a horrifying scene in which Howard has locked himself in film room isolated form everyone, a pan shows all the milk bottles lined up in the room
2:15:05 second time Scorsese uses split screen, the first time was when he was speaking to his manager on a phone, this time he’s speaking to the Baldwin character on the other side of the door showing the degree of his self-isolation
2:23:30 camera flashing during committee followed by reaction shots from Hughes
2:24:00 the committee sequence is some of DiCaprio’s best acting in my opinion
2:32:20 slow zoom in on Hughe’s face preparing to fly
2:36:00 the committee hearing is a little too on the nose with Hughes triumphing over the US Government in court, a bit closer to something from a Spielberg film than Scorsese but DiCaprio is magnificent here so not complaining
2:42:32 flashback with superimposed image of Howard in opening scene as a child
2:43:15 ending with extreme close up on Howard’s face as he repeats himself over and over again
Thoughts:
Scorsese gives an excellent biopic based on one of most fascinating individuals of the 20th Century
For most directors this would be the highlight of their careers, for Scorsese it might not even make his top 10
Excited to check out Hell’s Angels (1930) at some point
DiCaprio gives one of the best performances of his career, I (and many others) did not care for DiCaprio’s performance in Gangs of New York, it did not help that Daniel Day Lewis gives one of his best performances and just blows everyone else off the screen. Similar to Jesse Eisenberg’s portrayal of Mark Zuckerberg in The Social Network DiCaprio really dedicates himself to learning the mannerisms and tics of the man he is playing. On a per minute basis Blanchett might be even better. She gives a tremendous performance playing Katharine Hepburn, when I saw this film as a teenager, I was not familiar with Hepburn but after now having watched Bringing Up Baby (1938) I am blown away by Blanchett’s work here
While obviously not on the same level you have some similarities to Citizen Kane, an examination of the life of a rich and powerful 20th-century man, even though Charles Foster Kane was a fictional character (loosely based on William Randolph Hearst) There is an effective balance between Howard Hughes work and personal life. Certainly, the sad and pathetic state Hughes finds himself in toward the end of the film when he is isolated in his empty mansion is similar to Charles Foster Kane’s state of misery near the end of Citizen Kane
This is an almost 3-hour film, but it moves along at a brisk pace, and never really feels stagnant, one of the challenges of biopics in my opinion are the transitions from various periods in the subject’s life as just plucking events from different periods of the subject’s life won’t make for an effective film, this film really succeeds here as it covers a solid range of Hughe’s life, but it transitions fairly seamlessly
Scorsese uses color effectively as usual; I especially love the look of the first hour or so with frequent shades of blue light red and then blue with green such as the turquoise colored grass in the golf game Hughes plays with Hepburn. There is a noticeable change of the color palette over the course of the film, matching Howard Hughes mental state as we witness the slow decline from Hughes excitable young adult with boundless energy to the paranoid recluse at the end
Scorsese seems to use more POV shots than usual which makes sense given the focus on Hughes OCD tendencies which get progressively worse over time, the shots in the bathroom are particularly effective in showing early signs of his troubled mental state
The set pieces are impressive and grand, capturing the star studded life of Hughes in the first half of the film, beautiful interiors of night clubs, fancy Hollywood parties, flings with numerous beautiful women, etc. The glamour fades away during the 2nd half as Hughes mental illness gets the best of him resulting in the downfall of both his professional and personal life
Verdict: MS
The Departed (2006)
Notes:
Starts with Jack Nicholson voiceover
1:15 silhouette image
Rolling Stones Gimme Shelter, this is used frequently by Scorsese but its such a great song I will never complain about its use
2 min Nicolson’s Frank Cast
4:32 low angle shot of Frank post murder with evil smile
5 min jump in time
8:34 triangle composition, Wahlberg as Dignam and Martin Sheen as Queenan
18:34 pan across jail cells with Dropkick Murphy
22:28 Ray Winstone as Costello’s right hand man Mr. French, this actor is about as authentic as you can yet
27 min Vera Farmiga as Madolyn makes her first appearance
37:52 Frank and Frenchy’s dialogue is dark and twisted
39:55 John Lennon “the president before Lincoln” hilarious, some of DiCaprio’s lines are funny cause I don’t know if they are deadpan or sarcastic
43:26 “made more money, this is American you can’t make money you’re a d-bag” I can’t highlight every funny line because then notes would require 5 hours, but this one is a favorite of mine
45:04 surveillance photos with quick zoom in
1:05:51 “I’m the guy who does his job, you must be the other guy” a top 3 Dignam line
1:12:58 split diopter
1:15:12 canted angle
1:17:10 intense red tinted frame, with Frank at Opera with 2 dates half his age, this transitions to a scene with Frank at his place throwing cocaine from a massive bowl at one of those dates, this sequence set to opera music creating hypnotic atmosphere
1:32:00 close ups used in back and forth in conversation between Billy and Frank. It did not occur to me until now but there is a similar dynamic as the scene in Gangs of New York (2002) only there DDL outacts DiCaprio, here DiCaprio outacts Nicolson
1:38:06 great iris shot with circular frame on Colin decreasing in size with zoom out, matches Colins state of mind as he’s feeling increasingly trapped
1:41:25 split diopter
1:47:06 X marked in mise en scene
1:58:48 Drop Kick Murphy key song starts up again
2:05:08 Colin kills Frank who is laid out
2:09:27 low angle shot with close up on Billy’s face
2:17:00 crazy sequence of events here to end of the film, chain reaction of murders
2:21:30 camera pans across line of officers at Billy’s funeral
Thoughts:
If someone wanted to call this the single most rewatchable film ever made I would not argue it; between the fast paced story, amazing performances, hilarious one-liners, on point song choices, etc. this is NOT one of the 10-20 greatest films ever but if I had to pick a list of 10-20 films to watch every single week this would make the list
This film is ridiculously efficient in its setup as 15-20 min in you have everything you need to know, and the story unfolds from there
Nicholson’s performance gets critiqued, but I actually think highly of it even if there are several better ones here, he does go ridiculously over the top several times but it’s not really that out of place. For comparison Pacino has some insanely over the top moments in Heat (1995) that just feel out of place, almost like he’s in a totally different movie even though Pacino is overall excellent in that film. Nicholson’s over the top moments don’t feel all that out of place even though I agree it would have been better if Scorsese had reeled him in a little bit more. Really the Frank Costello character summarizes this as effectively as possible in the scene where Damon’s character suggests he back off a bit “Colin, laying low is not what I do.” With that said there are several better performances…
The top performance has 3 candidates in my opinion with DiCaprio, Wahlberg, and Damon with the slight edge going to DiCaprio. Wahlberg’s Sgt Dignam steals every scene he’s in so he’s at # 2 and Damon has along with DiCaprio the most complex role leaving him at # 3 and I think the top 3 are a cut above the rest
# 1 DiCaprio
# 2 Wahlberg
# 3 Damon
# 4 Farmiga – impresses on repeated viewings, it a more subtle performance than the other top roles so perhaps she gets overlooked
# 5a Winstone – one of the most authentic performances of a criminal imaginable
# 5b Nicholson – yes, there are flaws but it’s still effective, Frank really is pure evil and cares only about power, his screen presence is still immense although I am not surprised this was his last major role
Several windows shots used, matching the thematic elements of the film, which is about deception amongst other things, there are several split diopter shots used and even an iris shot on Damon’s character who is feeling increasingly cornered as the film moves along
The X’s in the mise-en-scene when characters are killed is a great cinematic reference to Howard Hawks’s Scarface
No one seems to like the color red more than Scorsese, used perfectly here in the opera scene which Frank attends with two beautiful women half his age followed by him literally throwing a handful of cocaine into the air, Frank is basically the devil as it’s not even just about the money he clearly being a gangster
This is a remake of the Hong Kong film Infernal Affairs (2002) co-directed by Andrew Lau and Alan Mak, this was turned into a trilogy which I think highly of (first 2 films anyways) but Scorsese’s version is superior
It did not occur to me the first few times I watched it but I think Damon’s Colin Sullivan is a closeted gay man, I normally do not delve into fan theories but after many viewings of this film it seems hard to not accept this interpretation as Sullivan; uses excessive homophobic slurs, really excessive and often out of nowhere, he shamelessly hits on women in public in ways that would make a construction worker blush, brags about his sex life to co-workers even though its implied he has trouble performing in an awkward breakfast scene, he makes excuses a couple of times his (gorgeous) girlfriend Madolyn tries to initiate sex, amongst other scenes with possible subtext. Some might write this possibility off as irrelevant, but I would argue the opposite as it fits so well into the movie’s themes of identity and deception. Damon is a criminal playing a cop so, this aspect of Damon’s character would fit in seamlessly with the rest of the movie as it indicates Damon has to work even harder at deceiving people since he has to do it with both his professional and personal life
Verdict: MP