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You shoot, you score

Happy second day of May, film-ies. Now, who doesn’t love a good sound track? Personally, it adds to the narrative and to the characters depicted in that particular film. Scorsese is the master in this - he has a way in which his music selection perfectly compliments the scene, completely juxtaposing what we are being shown. Take the closing shot (into the credits) of Goodfellas, in which Sid Vicious’ rendition of good ol’ Blue Eyes, ‘My Way’, is presented to us. Its fresh, its raw and he’s the pulse of the anti-establishment, antic fuelled punk group, Sex Pistols. Need i say more? Whilst Henry Hill looks like his life is about to be the all-American, white picket fence vision, Sids voice belts out that he had no regrets and yes, indeed, he did it his way *cue sounds that make you want to be mosh pitting at CBGB circa 1960′s*. Scorsese’s talent lays in that he can team scenes with songs like no other, he sees beyond the cinematography, he sees a whole package. Even greater is his use of punk not just in that one ending scene, its evident in many other of his greatest films. Music is not just another device to Scorsese, much like a location or actor sets the scene of a film, so does his choice in music, band and genre. His collaboration with The Rolling Stones could possibly be the best music and film marriage to ever exist (cough, in my opinion), as it mirrors his love for the band and his excessive playing of their tunes during that time period of the 60′s and 70′s. That, in itself is a gift that capture the essence of him as a director, historian and over-all genius. He has the greatness to unite the greatest things, music and film, and together they go hand in hand to produce and inspire a life time of cinema.  And on that note, film-ies, ill leave you with the master himself. Until next week!

"When I was young, popular music formed the soundtrack of my life.” - M. Scorsese 

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Godfather vs. Goodfellas

“As far back as I can remember, I always wanted to be a gangster.” Henry HIll. And as far back as i can remember, well, i always wanted to be antisocial, sit on my couch and have movie marathons. By this stage, we have all gathered that i am pretty much Scorsese obsessed and well, would probably marry him in a heart beat (wedding dress mentally checked off my list), but i do see the greatness behind Francis Ford Coppola and i do love his works as well as others. So, lets break down two of the greatest films ever, The Godfather and Goodfellas. Now i can sit here and pick Goodfellas apart, name every song and repeat every word (do you think im funny?), and i will. Its raw, its real and the fact that it has an older Henry HIll (Ray Liotta) voiceover the first few minutes and we don’t get bored is astonishing. But what i really love about this movie is the empathy we have towards Hill, and no it is not because i genuinely also want to marry Liotta. Between him and his two accomplices, Tommy DeVito (Joe Pesci) and Jimmy Conway (Robert De Niro), they steal, lie, kill and do so without any sort of sadness, almost numb to what they do as if they’re just buying a cola down the street. Goodfella’s has been described as the last great mob film, and you can see why through the realness depicted. What really makes Hill stand out is the softness to his roughness, he’s placed between two cold hearted mobsters, yet he has this sincerity and warmth to him. The films anti-hero, Hill still gasps at the many, many deaths and murders he witnesses, a trait not many who have been mobsters for that amount of time still have. I can say i have watched this movie hundreds of times, some for pleasure, some to pick bits apart and really try see what Scorsese was thinking (why that song? Why the painting of the dog in the dinner scene- if you have not seen this, please do so now!). In contrast, The Godfather “were intricately plotted and ended in epic crescendos of violence” (Sims, 2015 pp.1) and is based more or less on the idea of family and family values. Personally, i find both two of the greatest films of all time and whilst i still choose Scorsese over Coppola, the intricate detail in Don VIto Corleone is beyond words. So much so that today i will leave it there, for you now must watch the both and take it them both in, in all their glory. 

Until next time movie buffers. 

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Scorsese vs Coppola

Warhol or Wei-Wei? Coke or pepsi? Scorsese or Coppola? Oh so they old question goes, and i bet you wouldn't guess what my answer would be? Welcome again to another week of banter, in which today we will discuss these two film-school generation greats, dissect their strengths/weaknesses and then pretty much sum up with the fact that Scorsese will always KO (just joking..) Coppola. 

Lets get a bit of background on these two shall we. During the 1960′s, there was a major decline in the studios. They were collapsing in Hollywood, and concurrently, the rise of the film school generation came at just the right time. These kids were just like you and me - they had a passion for film, with strengths in analysis and theory, and spent their time doing what i do best, studying the big screen and picking it apart to the point of no return. Scorsese & Coppola delved into this desire they had, to work in the film industry, and were keen to know HOW film and theory shaped the product. Now this was a time of change and moving  forward from the classical period that Hollywood had just experienced. All hail the birth of the auteurs as we know them today - all hail Scorsese and Coppola *applause*.

These two however, faced the dilemma of; could they pursue auteuristic cinema, often directly influenced by Euro cinema and still remain true to their artistic spirit, whilst being commercially valuable? Given that both, specifically Scorsese, still have careers running to 2017, it is arguably easy to say yes. They managed to merge their art influences and education based knowledge whilst remaining a hot Hollywood commodity.  For instance, The Godfather is one of THE most valuable films to grace mankind, the gore and bloodshed an exploitative pleasure for all who watch. It is a film that maintains within the gangster genre and does play on that typical narrative structure and for that, we will forever be thankful Mr Coppola. Scorsese, to this day still produces these kinds of movies that still ring true to his gritty and rough aesthetics. He is directly influenced by his own life, having grown up in Lt Italy and having these Italian neo-realistic filmmakers such as Rossellini and DeSica as direct influences. He merges history with cinema in such a way that it is still intriguing today, and yet does so with his own twist and own touch to the overall presentation. 

So film buffs, who would you choose? 

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The Power Of Silence

If you have not seen Raging Bull, i advise you bookmark this post and do so right this instant! If you have, well, lucky you. Raging Bull is one of Scorsese’s films that displays a number of cinematic techniques that are attributed to Marty, but today, i want to focus on the power of silence. Displayed in a number of his movies (The King of Comedy anyone?), silence is his way of telling the story where no words are needed. There is enough in the minute or two that can tell a story to the audience without anything but the actor at hand and a distinct shot. What does stand out also is and something i want to briefly touch on before next weeks post, is that Scorsese has this way of putting together the soundtrack so well with a scene, yet can switch it and juxtapose it within his next film, with silence. I truly believe that his greatness and legacy is alive to this day because of his ability to communicate through various techniques, he can tell a story like no other. Ok, now lets get back on track and break down the classic boxing ring sequence in Raging Bull. Jake La Motta (De Niro) is in the ring, the silence and shots acting in sync to form this notion of expectancy. Its silence, and its a powerful one, the camera work following to generate this over-all notion of something big and powerful is gonna happen - and its gonna hurt. Scorsese put it perfectly in his own words, the silence is like “a numbing effect” (Scorsese, 2014), and in some instances has even more power than a lyric itself and is a vehicle for his storytelling. 

Its an expression of the characters emotive state, and it says more than words could ever say. 

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The Big Screen vs Netflix

Good morning and happy Monday movie buffs. Okay, so lets just get right into it today. Im assuming we are all too well aware of the ‘netflix and chill’ craze thats hit up the net and, well, pretty much every social media site in the last year. Well how about we start a new one - ‘netflix-and-never-having-to-leave-your-house-to-watch-a-big-budget-hollywood-film? Try saying that in one breath! Thats pretty much what is going on in the film industry right now. Netflix has struck a deal with feature films, that has plans to release 4 Adam Sandler films as well as many more to come. Is this the future for blockbuster film? Well, it may look like it. Before we get into the current situation and the blurring of line between film and Netflix, lets sit back and get to know our little friend. Netflix, according to “DMR Stats and Gadgets”, first made its mark in 1997, originally as a “DVD subscription service” (Smith, 2017, pp.01). 1999 was the year that subscriptions launched, and since then not a single soul has visited Blockbuster (really do miss that place..). Anyway, now we are in 2017 and there are 93.8 million users monthly and they have a $6 billion budget at hand for this year in which they will produce 1000 hours of original Netflix content. Now, the biggest news to hit the month of February (for me anyway...) was the Scorsese / De Niro deal with Netflix. Now, don’t get me wrong, i too pay my monthly Netflix subscription just like the rest of us, but there is something that doesn’t sit when it comes to a Hollywood blockbuster playing on my iPad. And clearly, me and Marty think alike, “the problem now in that everything around the frame is a distraction” (Scorsese), and i too agree. Cinema is meant to be an outlet in which one attends a screening at a theatre and takes in not only the movie, but the surround sound and the notions that come with it. Its an experience in itself and a time in which nothing is of a distraction. Im pleased to also read that The Irishman will also play in cinemas simultaneously, but again, i think we need to hold onto that notion of viewing a movie in a theatre and having that experience of drifting away with the narrative and characters for 2 hours. 

Just a thought to leave you with, i would love to hear what you think about this change that is moulding with technologies. Ill be sure to keep updated on this subject, buffers, so until next week. 

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The Power of the Auteur

auteurəʊˈtəː,ɔːˈtəː/

noun

a film director who influences their films so much that they rank as their author.

Welcome back to another day of my favourite thing to scribble about. I hope your week has been filled withe endless couch sittings and films. Now, lets get talking about the power of the Auteur (beam of light shines down, very godly style). Okay, back to it. The auteur, French for authorship came about at a period when there was deep, critical thinking around American film and its stylistic and cinematic approaches. The idea of the auteur is derived from France, as the cinephiles in the land of croissant and baguettes saw the director as THE creative force behind the given film. Think of it as the author of a book, the editor of a magazine (although, some do argue that there is a team of people behind this process...). Scorsese was part of the ‘film school generation’, they had extensive studying and training in the film and screen industry and hence, became known as the ‘film brats’ along the way. Think Scorsese, Coppola, Bogdanovich. These students had a desire to learn about film, beyond the means of just what was in front of the film, they used their passion to analyse to the highest degree and knew what they had to do in order to work in the industry. They wanted to know the theories behind the film and how this shaped the final product. Having the film brats burst onto the scene meant the shape of Hollywood was changing. The studios, who were already declining in their budgets at this point decided to give smaller sums to these emerging auteurs. Hence, we are now blessed with the gritty realism that Scorsese (and of course many others - not being biased i promise) bring to our screens time and time again. The auteurs that we know have a way of bringing together both their artistic vision (what they want) and the commercial profitability (what the audience wants and what will gain $$$ for the studios). 

And to end on a high, and to see our favourite at work please watch below (link provided for better quality). https://www.youtube.com/watch?v=POR5t4hjtPg

Until next week future brats! 

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Gangs of the Screen

Scorsese an the gangster genre are synonymous with each other. He, through his cinematic works, has managed to create an image that combines the rise and fall of the mobster, with a general love and sense of empathy for his characters. His mis-en-scene - the tools and props within the shots, the clothes, the cars, its all visually talking to the audience and setting up the narrative. Scorsese presents the audience with what they expect in terms of past knowledge of the genre, and he does so and exceeds this expectation. If one has seen and is a fan of past works of his, you know to expect a soundtrack that not only juxtaposes the scene in which it is playing with, but adds to it in ways one could never imagine (i mean, I Did It My Way by Sid Vicious in the end credits - genius!). But again, even in that end shot of a now post-gangster Henry Hill, living the normal life in American Suburbia, he flashes his smile and the audience is still in love with him. We are introduced to his character as a young boy who falls into this mobster family, he’s quiet, he diligent, he does the job and he excels. We see the rise of him, he has the money, the cars, the girls but again, he isn't overtly forward. Take for instance the scene where he is first introduced to his future wife Karen. He has his job on his mind more-so than his eyes on her. He is passionate for his family more than anything. Scorsese then continues showing his rise and its great, theres the wedding, the love, the money and the family holidays. But when the fall comes, its harder than any punch the mobsters have thrown. All you have to do is hear the first bass strings in Harry Nilssons’ ‘Jump Into The Fire’ and you feel the anxiety that is being presented before us. Liotta, who plays Hill, is sweaty, dull anxious, the camera cutting to scenes just as fast as his eyes move from the road to the sky. From the shots to the music, Liotta’s physical appearance and his voice-overs, Scorsese uses these cinematic techniques to present us with “covert guidelines that gangsters follow” (Bartelby, p.2). I mean, if you’re part of the mob, you never ‘rat’, you watch your back and well, you sell out - you’re dead. 

So, readers, i hope this weeks post has given some insight into Scorsese’s natural portrayal of the gangster genre, where we have dissected a small scene of Goodfellas and described its use of cinematic technique. Stay tuned for next weeks article where we talk about THE POWER OF THE AUTEUR. 

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Made in Little Italy

If you’re reading this right now, it means you’re back for more- so welcome again and get ready for another coupla’ hundred words on master Scorsese. By this point in time, you would have noticed that theres a common factor in Scorsese’s films. Still thinking? Heres a hint - NYC. Marty (as those close to him address him), is born and bred in Queens, more specifically, Little Italy and has never swayed when it comes to using this as his setting. This isn’t your typical, run of the mill, Lonely Planet guide to NYC either. When one sits to watch his films, they see New York through Scorsese’s eyes, that is, the rough, the grittiness, the emotion and the i don’t give a f*** spirit that encapsulates the city and Scorsese. As much as one affiliates De Niro with a Scorsese film, they do so with New York. Its an integral part to the narrative and well, is pretty much a character all on its own. Have a think back (or Netflix RIGHT NOW) Goodfellas, Mean Streets or Taxi Driver. Now press play, sit back and let your mind take you to Times Square at 4am, eating a pastrami sandwich and listening to Bernard Hermann’s theme for the lead character himself (thank me later). Below is a video in which editor Robert Kolodny gives light to Scorsese’s New York and the musters up the enthusiasm both catalysts give to each other. Click play and please continue the discussion. Do you feel it too? 

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The New Yorker

“Every scene is a lesson. Every shot is a school. Let the learning continue”. M. Scorsese

New York, New York, the city of dreams. And that it was for a young Martin Scorsese, who was born and bred in Queens, NY. This cinematic genius has a career spanning fifty years plus, and continues, to this very day to produce films that blow the mind of his audiences. His works cover themes such as gangs and their rise & full, concepts of guilt and redemption and modern crime. I, for one, can say that although many of his films do adopt the idea of the rags to riches gangster, each one follows its own narrative and pulls its audience in through many cinematic techniques. Even just sitting and writing this, my mind scans over his scoring (music for the non-movie nerds!), his particular shots and his idea of the actor being the catalyst for any script. Scorsese has this way of bringing his thoughts to life with depth and compassion, and a sense of empathy in his characters which many would fail to recognise had it not been for him. All you have to do is look further into his extensive list of films and gain that trust in him as a producer, director, screen writer and film historian. Each week, we will continue to delve in Scorsese’s works and create discussion around this Hollywood heavyweight!