IMAGISM AND MARTIN SCORSESE: IMAGES SUSPENDED AND EXTENDED – by George P. Castellitto

2018-02-15T19:01:33-08:00 February 15th, 2018|Categories: CINEMA|Tags: , , , , , |

Scorsese's technique of "freezing” objects generates a particular method of cinematic exposition in which characters and objects are portrayed in a moment between movement and non-movement; this “moment” is the bridge between potential behavior and stasis. The "thing” is frozen or suspended on the screen, and the possibility of either stasis or experience emerges from this momentary suspension.

MEAN STREETS: EVERYDAY INFERNO – Review by Pauline Kael

2018-01-11T16:26:20-08:00 January 11th, 2018|Categories: Uncategorised|Tags: , , , , |

Martin Scorsese’s Mean Streets is a true original of our period, a triumph of personal filmmaking. It has its own hallucinatory look; the charac­ters live in the darkness of bars, with lighting and color just this side of lurid. It has its own unsettling, episodic rhythm and a high-charged emo­tional range that is dizzyingly sensual.

GOODFELLAS (1990) – Review by Pauline Kael

2017-08-18T14:33:02-07:00 August 18th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael Martin Scorsese’s GoodFellas has a lift. It’s like Raging Bull, except that it’s not domineering. It’s like Raging Bull made in a jolly, festive frame of mind. It’s about being a guy and guys getting high on being a guy. In the Nicholas Pileggi book Wiseguy, which [...]

RAGING BULL: INTERVIEW WITH MARTIN SCORSESE (1981) by Michael Henry

2017-10-07T08:43:57-07:00 July 31st, 2017|Categories: CINEMA, INTERVIEWS|Tags: , , |

This interview took place in Paris during the night of February 11-12, 1981. A translation of "Nuit blanche et chambre noire" from Positif, April 1981. Translated by Peter Brunette. by Michael Henry HENRY: Robert De Niro brought you Juke La Motta's autobiography when you were preparing Taxi Driver. What attracted [...]

TAXI DRIVER: UNDERGROUND MAN – Review by Pauline Kael

2017-05-25T13:26:29-07:00 May 24th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael Taxi Driver is the fevered story of an outsider in New York—a man who can’t find any point of entry into human society. Travis Bickle (Robert De Niro), the protagonist of Martin Scorsese’s new film, from a script by Paul Schrader, can’t find a life. He’s an [...]

RAGING BULL: RELIGIOUS PULP, OR THE INCREDIBLE HULK – Review by Pauline Kael

2017-08-01T17:03:55-07:00 May 8th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael As Jake la Motta, the former middleweight boxing champ, in Raging Bull, Robert De Niro wears scar tissue and a big, bent nose that deform his face. It’s a miracle that he didn't grow them—he grew' everything else. He developed a thick muscled neck and a fighter [...]

SCORSESE’S GANGS OF NEW YORK: WHY MYTH MATTERS – by Timothy J. Gilfoyle

2018-01-14T13:24:14-08:00 March 9th, 2017|Categories: CINEMA|Tags: , , , |

by Timothy J. Gilfoyle In December 2002, Martin Scorsese’s Gangs of New York opened to critical acclaim. The Chicago Tribune’s Michael Wilmington described the motion picture as “a period epic of hatred and fire,” “a movie of grand reckless ambition,” and “a film burning with creative passion, over-reaching, magnificently wild.” [...]

FUORI ORARIO (1986) – Recensione di Franco La Polla per “Cineforum”

2017-06-05T00:16:17-07:00 February 23rd, 2017|Categories: CINEMA|Tags: , , , , , , |

«Cambiano le regole. Quando si fanno le ore piccole è zona franca», dice il simpatico barista a Marcy e Paul, offrendo loro la consumazione, per divenire di lì a poco il burbero, inesorabile proprietario che impone al giovane l’ordinazione.