It was great timng when I started to get completely obsessed with the work of Martin Scorsese in the late 80’s because it wasn’t long before a pretty much indispensable text was published that lifted the lid on his oeuvre to a frighteningly thorough degree.
There was already the excellent Scorsese on Scorsese that was published in 1989 that was a great introduction to the great man’s career up until The Last Temptation of Christ.
But in 1991 came Martin Scorsese: A Journey by Mary Pat Kelly that examined each of Scorsese’s films up until the newly released Cape Fear but with each collaborator and person involved giving their own take on events in a ‘He said, she said’ style that meant that each film was examined in minute detail and accounts came from straight from the horses mouths, so to speak.
Scorsese’s early life, his early short films (now on Criterion) were also gone through with a fine tooth comb as was his aborted 1983 attempt to get Last Temptation made.
With the numerous interviews that were conducted for this book from a cast of pretty much all of the main players of Scorsese’s career up until this point it means that theres a massive scope of opinions and viewpoints that helps to broaden the canvas on everything regarding the auteur’s filmography. This book feels like an encyclopedia of all thing Scorsese and is a very welcome tome because of it. Add to that the rare stills used from all of his films and you have everything a Scorsese fan and film lover could wish for.
God is in the details and this book is full of them. Highly recommended.
My first Book of the Week is The Film Handbook by Geoff Andrew and published in 1990.
This is a book that lists a MASSIVE range of auteurs and directors, gives a potted history of their film career so far and then names selected highlights from their filmography that every film fan should see whether they are a casual viewer or a serious cineaste.
Sounds basic doesn’t it? But that’s the beauty of this book. The other thing I love about this tome is the fact that it introduced me to the work of many directors I had never heard of before. It’s scope is huge with prominent and obscure directors from many different countries getting the recognition they so rightly deserve but very rarely do. The same can be said regarding ‘cult’ directors with there being no film snobbery within the pages of this book. Which is perfect for this website!
There’s also an introduction by a certain Mr Martin Scorsese who voices the opinion that the book is indispensable even if he disagrees with Andrews’ opinion on some directors and films. And so, if this book is held in such high esteem by Mr Scorsese, it must be bloody good!
I’m so glad I studied Psychology in college. I’ve always found the subject interesting and have sought to build on what I’ve already learnt through my interactions with different people throughout my life.
I became aware of Narcissistic Personality Disorder quite by accident recently. It was information that I had been trying to discover for years as I had very, shall we say, unfortunate interactions with a narcissist a few years back.
When I stumbled across the info on NPD I wasn’t surprised to learn that this sort of personality belongs in what is called the Cluster B personality disorder category. If you want to see how disordered these personality types are then pay heed to the fact that other examples of Cluster B personalities are psychopaths and sociopaths. I began looking into how these disorders shared similarities and how they differed.
In the midst of all of this research Scorsese releases The Irishman. As well as being a brilliant piece of entertainment it’s also an amazingly detailed depiction of a sociopath (I mentioned about Frank Sheeran’s psychological state in my original review of the film- particularly shown by the scene where as a soldier he makes two other soldiers dig their own grave before shooting them when they have completed the task).
I’m so glad that one of my favourite film analysis YouTube channels The Discarded Image have just uploaded a video regarding the psychology of The Irishman’s Frank Sheeran, Scorsese’s protagonists in general and much more. It can be found here.
And whilst you’re there check out the same channel’s video on John Carpenter’s Halloween. One of my favourite films of all time, I’m impressed by any analysis that makes note of aspects of the film that no-one else has considered. This video does it many times, especially when talking about Laurie walking over to the house across the street, how it’s handled and her impending doom. This video is here.
Martin Scorsese’s latest film centres around Frank Sheeran who we first see in a care home for the elderly reminiscing about his life. He recalls his time in World War 2 and then after this lovingly remembers the scam he had when he is working as a meat truck delivery worker (he regularly siphons off some of the contents and sells it to local mafiosi) when he crosses paths with mobster Russell Bufalino who he is then reintroduced to some time later. This proves to be a turning point for his life. It’s through Bufalino that he is introduced to Jimmy Hoffa, teamster and celebrity. This marks another turning point for his life and the film’s narrative.
I had to smile when I saw some of the major players from Scorsese’s canon of masterpieces reunited in this film. It was more than awesome to see De Niro with Joe Pesci and Harvey Keitel again.
But there are also new actors who more than hold their own. Al Pacino is predictably brilliant and it’s great to see such a legendary actor under the direction of such a masterful director. Stephen Graham shows that he’s just as brilliant in a Hollywood film as he is within the quality TV productions that he’s starred in here in the UK.
There has been much made of Anna Paquin only speaking six words in a three and a half hour film. When you see the film you’ll see why. Her looks and mannerisms throughout the film convey much more than lines and lines of dialogue as her role is akin to some kind of silent but all seeing sense of conscience or moral judge regarding her father’s dastardly deeds that she knows are happening even if he tries to disguise them to convey himself as a honest working man. Instead of basking in fake outrage (are we really getting to a point where numbers of words uttered by male and female characters will be tallied up and compared when it comes to movies?! Are we really getting that ridiculous?) how about thinking what an amazing actress she is that she can turn in such a genuinely awe-inspiring performance by just using her facial expressions alone and what is implied rather than said out loud. Y’know, by using her acting skills and stuff! There should be a mention here regarding how brilliant Lucy Gallina is as Peggy between the ages of 7 and 11.
This movie is a sprawling epic that spans 1945 to 1990. The narrative shoots forward and backwards through time so effortlessly and effectively that it reminded me of Once Upon A Time In America (thankfully theres no panpipe music in this movie though). With this kind of timeframe being used it’s been widely reported that Scorsese used CGI to make the leading characters look younger in some scenes. Whilst this can be noticed in the first couple of scenes in which this device is used, it blends into the movie as a whole and is quickly forgotten about as the viewer gets used to it. It also becomes unnoticeable because the film is so captivating for the viewer.
There was a point early on in this film that felt very familiar. There is a bar setting with an old 60’s hit playing over the soundtrack whilst a plethora of mobster types are doing their thing. I thought to myself ‘Oh God, I hope this doesn’t turn into a GoodFellas clone.’ I remembered the good but not great Casino feeling like ‘GoodFellas Go To Vegas’. But The Irishman doesn’t play out like this. It’s a film that quickly veers into new territory plot wise whilst exploring themes such as age, reflection, mortality (on many levels) and how choosing to live such a thoroughly deplorable life whilst hiding under a veneer of respectability can impact the loved ones of the people who have chosen to take the dark path.
I was lucky enough to see this on the big screen yet it was a very uncomfortable experience. The movie is 3 and a half hours long and whilst it’s an amazing ride it’s a painful experience in a cinema seat. My aching posterior was so bad through the second half of the running time that I felt that I was wriggling around more than an eel. But the length of the film was probably intentional for Scorsese as this was made for Netflix- home of the ‘binge watch’ to be watched in the comfort of your home on the comfort of your sofa.
One more touch that I loved about the movie were the captions that accompanied each new secondary character as it stated his name and how/when he died.
This movie might end up in the Guinness Book of Records also as I don’t think I’ve heard the word ‘c*cksucker’ used so much in one movie before. This is a great accolade in my book.
The Irishman is a cracking movie. Fans of Scorsese will love this, as will fans of intelligent and innovative filmmaking. There will be several raised eyebrows as to the level of poignancy that the film holds. Which again makes me think of Once Upon A Time In America in that the audience is made to feel sympathy towards a character who the film has shown to have committed some heinous acts.