Film Essay – Martin Scorsese

style determines the quality of a film, which can be recognized by watching it. One notable feature of Scorsese's films is his consistent casting of Robert De Niro. De Niro has starred in the majority of Scorsese's movies, such as Mean Streets, which marked Scorsese's initial successful film. Moreover, Joe Pesci also joins De Niro in Raging Bull, Goodfellas, and Casino.

Although not a comprehensive demonstration of auteurism, this example highlights the notion that various actors, as well as their caliber, contribute unique vibes and prestige to a film. Consequently, if each Scorsese film exudes a consistent atmosphere due to the casting choices, the selection of actors can be regarded as an aspect of auteurism. For instance, De Niro's presence not only signifies his longstanding position on Hollywood's esteemed "A" list but also imparts a particular aura to any role he embodies, discernible among certain actors, especially when under suitable direction.

Scorsese has a unique style in his films where he presents scenes chronologically, unlike other directors who show the date of a scene before it happens. Instead, Scorsese starts with a scene and then gradually reveals the events that lead to it before returning to the same scene at the end.

The text highlights the fascinating impact that specific films directed by Martin Scorsese have on the realm of cinema. Movies like Goodfellas, Casino, and Raging Bull employ captivating and thrilling opening scenes that captivate viewers. These scenes generate curiosity and maintain audience interest as they anticipate the progression of events depicted in the initial scene. This approach not only enhances Scorsese's artistic style but also contributes to the widespread acclaim these films receive within the film

industry.

Scorsese's films stand out for their incorporation of music, specifically music that relates to the storyline. This encompasses the use of opera in mafia-themed movies such as Goodfellas and Casino. Nevertheless, what distinguishes Scorsese from other directors is his methodical approach to utilizing music. While scenes with extensive dialogue are devoid of musical accompaniment, ordinary moments like driving may feature background music. However, during pivotal instances typically involving violence, there is a sudden influx of musical accompaniment. It is through deliberate selection and implementation of music that Scorsese defines his films.

Despite his appreciation for music in films, Scorsese utilizes a limited amount of it in Taxi Driver. This may be attributed to his early stages of directorial development. Additionally, the inclusion of theatrical music in the trailer for Gangs of New York emphasizes the significance of music within Scorsese's movies. This further supports the notion that he possesses auteur characteristics as an artist. However, one prominent aspect that aligns with auteurism is the narrative, which I observed right from the start.

Both the actual dialogue and narrative play crucial roles in Martin Scorsese's films such as Goodfellas and Casino. The significant amount of narrative used and the way it guides the film indicate the influence of one of the main characters. This character's voice acts as a constant presence, providing explanations for the complicated events that occur in 'mob' movies. These distinctive elements are indicative of Scorsese's distinctive style.

The violence in the films directed by Scorsese and Quentin Tarantino is a prominent characteristic that stands out. The excessive nature of someone being brutally beaten with a baseball bat in all three films I analyzed (Taxi Driver,

Goodfellas, and Casino), as well as numerous individuals being shot (often in the head) with copious amounts of blood, reaches levels rarely seen even in the horror genre or under different directors.

The incorporation of controversy in films, as seen in the works of Scorsese and other filmmakers before him, adds a distinctive and appealing quality that attracts audiences. This approach, although less common in recent times, contributes positively to the art of filmmaking by demonstrating that avoiding controversial elements may not lead to success, in fact quite the opposite. The auteur theory also emphasizes that any artistic creation should embody the vision of the artist.

Scorsese's films such as Taxi Driver, Bringing Out the Dead, Goodfellas, and Casino showcase the protagonist's mission to bring order to the streets of Manhattan and dismantle powerful mob empires. These movies consistently depict endings that are somewhat justifiable, as exemplified by Henry Hill's survival in the witness protection program after getting involved in the Mafia at a young age. Ultimately, he relinquishes his reliance on the people and drug-infested world he had become accustomed to in Goodfellas.

Despite the potential negative aspects that may challenge De Niro being labeled as an auteur, his films such as Taxi Driver and Casino depict his characters, like Travis Bickle and the protagonist in Casino, returning to their initial state after experiencing redemption and downfall respectively. In Taxi Driver, Travis Bickle rescues Iris from the world of prostitution and finds solace in his work once again, while in Casino, De Niro's character resorts to deception and cheating to attain wealth only to witness his empire crumble. Thus, alongside the positive contributions and auteurist traits evident

in his works, these contrasting elements also shape the discussion on De Niro's status as an auteur.

The primary criticism of Scorsese and his work is that his films are overly alike. Casino is perceived by many critics as a reiteration of Goodfellas. In fact, the characters bear resemblance; Joe Pesci portrays Tommy in Goodfellas and Micky in Casino, both of whom are volatile individuals with explosive tempers that do not hesitate to ruthlessly kill someone for speaking inappropriately. De Niro plays the authoritative figure with abundant wealth in both films, who is solely governed by the actual mob bosses that are infrequently depicted in the movies.

Both Goodfellas and Casino feature female characters who play similar roles in the main character's life. In both films, Henry's mistress Sandy and Sam Rothstein's wife Ginger exhibit self-destructive behavior, frequently indulging in drugs or alcohol. Furthermore, both male protagonists end up treating their women (in this case, Henry's wife Karen) disrespectfully at some point during the movies. The central themes of greed, power, and corruption are prominently portrayed in both films; the only distinction lies in the approaches employed to attain them.

Despite the versatility of actor Robert De Niro and the undeniable success of his collaboration with Scorsese, audiences may eventually feel that seeing him as the lead in multiple films becomes repetitive. However, Scorsese has found a solution to this by casting Nicholas Cage in his 1999 film "Bringing out the Dead" and Leonardo Di Caprio in his Christmas 2002 release, "The Gangs of New York".

Thus, one of his drawbacks as a director - his relentless casting of the same individuals - is finally being addressed.

Additionally, The Gangs of New York, taking place in 1863, showcases his ambitious endeavor to depict a gloomy depiction of New York's origins, diverging from his usual filmmaking style.

Another main criticism of his films is their lack of emotion and the presence of intense violence. Scorsese's characters, especially in his gangster movies, are intentionally cold and unfeeling. In Taxi Driver, for example, Travis obsessively follows Betsy and takes extreme risks to rescue Iris from prostitution instead of openly expressing his emotions for them.

Travis, the character, appears to be confused and unsure of his life's purpose. He is tired of loneliness and seeks companionship with Betsy. Additionally, he desires to make a positive impact by rescuing Iris from her troubled environment. However, the main flaw in his claim as an auteur is that Taxi Driver and the two gangster films are noticeably distinct. Unlike Goodfellas and Casino, which feature frequent violence, quick-paced scenes, and intricate plots.

Taxi Driver showcases around three scenes of violence that prioritize dialogue rather than advancing the plot, resulting in a focus on Bickle's seduction of Betsy, his plan to assassinate a presidential candidate, and his mission to rescue Iris from danger. Rather than having a multi-layered and complex storyline, the movie presents a straightforward sequence of events in chronological order. To summarize, Scorsese is an accomplished filmmaker who has made substantial contributions to the industry.

Martin Scorsese's film Goodfellas had a significant impact on the gangster movie genre, inspiring and influencing other works like Quentin Tarantino's Pulp Fiction (1994) and Reservoir Dogs (1992). These films effectively took advantage of the renewed interest in the genre. By reintroducing a previously neglected style, Scorsese

has encouraged other directors to pursue their desired genres without worrying about being overlooked for an extended period. Moreover, Scorsese's boldness in tackling challenges is clearly evident.

In contrast to the Rocky series, which focused on the professional achievements of fictional character Rocky Balboa, Martin Scorsese released Raging Bull, a biographical film about real-life boxer Jake LaMotta that emphasized his personal life. Despite being released a year after the second installment of the five Rocky movies, Raging Bull surpassed all of them according to film critics. This demonstrated Scorsese's ability not only to revive fading genres but also excel in already popular genres at the time. By approaching the boxing genre differently in Raging Bull, he showed other directors that there are multiple ways to create a boxing movie.

Despite the similarities mentioned earlier, I think Casino was just a replication of Goodfellas. It could be seen as Scorsese's endeavor to regain his triumph after Pulp Fiction and Reservoir Dogs. However, I don't consider these resemblances to signify Scorsese being an auteur in that sense; instead, they have a comparable framework but a distinct presentation style. It is an alternative approach to telling a story about mobsters and the repercussions faced by those who succumb to excessive greed. Ultimately, the movie's protagonist manages to survive while all others either perish or find themselves incarcerated.

Although some may argue that Martin Scorsese does not fit the definition of an auteur because of the resemblances between Taxi Driver and Bringing out the Dead, it is undeniable that he is a skilled director who has experienced immense triumph with certain movies while facing challenges in replicating that same level of success

with others.