By far his most ambitious film to date technically and in the scope of its references, Taxi Driver shows Scorsese's urgency working at full throttle—to the film's considerable success and less considerable failure.
Pauline Kael reviews 'New York Stories', the 1989 anthology film consisting of three shorts with the central theme being New York City. Episodes directed by Martin Scorsese, Francis Ford Coppola and Woody Allen.
by Gavin Smith Gavin Smith: What was it that drew you to the GoodFellas material? Martin Scorsese: I read a review of the book; basically it said, "This is really the way it must he." So I got the book in galleys and started really enjoying it because of the [...]
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.
In Taxi Driver, New York City is a steaming, polluted cesspool and Travis Bickle’s cab a drifting bathysphere from which he can peer at the “garbage and trash” which obsess him: whores, pimps, junkies, wandering maniacs, maggotty streets, random violence.
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.
Novelist of ‘Nothing Natural’, Jenny Diski, watches a video of the first ‘Cape Fear’ and the Scorsese remake - and compares them
The movie is a disgrace: an ugly, incoherent, dishonest piece of work. The original picture, directed by a skillful journeyman, J. Lee Thompson, is memorable without being especially artful.
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 [...]
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 [...]
Religious Pulp, or the Incredible Hulk 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 [...]
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.” [...]
«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.
In this extract from Schrader on Schrader, a collection of interviews and essays, screenwriter Paul Schrader tells Kevin Jackson about the genesis of Travis Bickle, working with Martin Scorsese and the link between the Coppertone advert and Crime and Punishment
Raging Bull began as Robert De Niro’s obsession, but the only man he believed could film it, Martin Scorsese, wasn’t interested—until the director’s near-fatal collapse gave him a visceral connection with the story of troubled boxing champion Jake La Motta.