Ian Nathan

Martin Scorsese

• Gebundenes Buch

Produktbeschreibung

Explore the profound impact and artistry of Martin Scorsese, one of America's greatest living directors.

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Produktdetails

• Verlag: Quarto
• Seitenzahl: 176
• Erscheinungstermin: 9. Oktober 2025
• Englisch
• Abmessung: 240mm x 210mm
• Gewicht: 750g
• ISBN-13: 9781836006435
• ISBN-10: 1836006438
• Artikelnr.: 73333616

Autorenporträt

Ian Nathan, who lives and works in London, is one of the UK’s best-known film writers. He is the author of nine previous books, including Alien Vault, the best-selling history of Ridley Scott’s masterpiece, Terminator Vault, Tarantino, Tim Burton, The Coen Brothers and Anything You Can Imagine: Peter Jackson and the Making of Middle-earth. He is the former editor and executive editor of Empire, the world’s biggest movie magazine, where he remains a contributing editor. He also regularly contributes to The Times, The Independent, The Mail on Sunday, Cahiers Du Cinema and the Discovering Film documentary series on Sky Arts. 

Inhaltsangabe

1. LITTLE ITALY
Growing up on the steamy, neon-smeared streets of Little Italy in New York,
stifled by asthma, gazing at the city from his window, a mother’s boy,
unable to join the local kids in their games. Taking pity on him, and to
escape the confines of the apartment, his parents took him to the movies.
Thus began obsession that has never dimmed. An idea of entering the
priesthood gave way to the religion of cinema. At Tisch School of the Arts
he began making shorts, searching for a style. By 1967, he was looking to
fund his first feature film.
Films: the experiments and short films Vesuvius VI (1959), What’s a Nice
Girl Like You Doing in a Place Like This? (1963), It’s Not Just You, Murray
(1964), The Big Shave (1967)
2. REAL TO REEL
Scorsese’s early films are charged with possibility. They are highly
personal, setting down a template of what might be called realistic
expressionism, a psychological portrait of the world. His world. On his
debut, Who’s That Knocking at My Door, he first worked with Keitel and
Schoonmaker. Scorsese fell in with the Movie Brats, thrived in their
company. But he struggled to make money, accepting an exploitation gig,
Boxcar Bertha, from Roger Corman. There he learned to make little go far,
and the taut, street-level, semi-autobiographical Mean Streets confirmed a
great talent. He was the American Godard, the new Cassavetes. Alice Doesn’t
Live Here Anymore reveals a rare female focused story and won Ellen Burstyn
an Academy Award.
Film: Who’s That Knocking at My Door (1967), Boxcar Bertha (1972), Mean
Streets (1973), Alice Doesn’t Live Here Anymore (1974)
3. STREET LIFE (FOCUS)
Taxi Driver brought him acclaim, this jolt to American cinema, still
electrifying today. A Vietnam story set on New York’s crime-riddled
streets, hot with neon and desperation, this is the tale of veteran Travis
Bickle: taxi driver, avenging angel, God’s lonely man. De Niro is
unforgettable in the lead role; Cybil Shepherd, Jodie Foster, Harvey Keitel
all extraordinary; Bernard Hermann’s final score breathtaking. But it is
the marriage of place and character, how the film cuts through the veil of
America that makes is a neo-noir classic. It remains Scorsese’s signature
film.
Film: Taxi Driver (1976)
4. RING MASTER
The three films that follow Taxi Driver mark the strange, dark, thrillingly
experimental heart of Scorsese’s career – this is the period for which he
is given greatest acclaim, and for good reason. His version of an MGM-style
musical (who else would dare that?), the expressionist cityscapes of New
York, New York, are cover for the story of a fragmenting marriage. Pulling
himself back from the brink of a fatal cocaine addiction, Raging Bull,
encased in haunting black and white, is the harrowing biopic of
Italian-American middleweight champion Jake LaMotta (a chameleonic De
Niro), a man whose psyche rested permanently on the brink. For some, it is
his masterpiece, voted the greatest film of the eighties by Sight & Sound.
The King of Comedy offered little relief, a scorching, cringing,
devastating satire of celebrity, with De Niro (the great muse) as the
unhinged stand-up ravenous for fame. Scorsese’s films were marked by their
uneasiness. What he was willing to put audiences through. Cinema has never
felt so alive.
Films: New York, New York (1977), Raging Bull (1980), The King of Comedy
(1982)
5. CONTROVERSIES
There is a school of thought that in the mid-eighties Scorsese eased into
the mainstream with two safer pictures: the black comedy After Hours and
starry pool-shark sequel to Robert Rossen’s The Hustler, The Color of
Money, with Tom Cruise and Paul Newman. They may not quite have the
visceral power of his early films, but frankly we needed the relief. And
even then, the former is still a Kafka-esque fever dream, another New York
nightmare and the latter a textured character piece. And if there was any
hint he was going soft on us, Scorsese dared a biopic of Christ, pondering
his life in human terms. The Last Temptation of Christ was swept up in
controversy, decried as blasphemy, and banned in many places. It’s often
forgotten that it is simply a film. Understandably, perhaps, Scorsese then
took cover directing one of the underwhelming New York Stories alongside
Coppola and Woody Allen.
Films: After Hours (1985), The Color of Money (1986), The Last Temptation
of Christ (1988), New York Stories – Life Lessons segment (1989)
6. MADE MEN (FOCUS)
Goodfellas is still Scorsese’s definitive statement on the gangster genre
and the gangster reality. This exhilarating portrait of life on the lower
rungs of the New Jersey mob, with Ray Liotta, De Niro, and an exuberant
Pesci, slants the view of Scorsese as America’s chief chronicler of
organised crime. In fact, until this point, only the highly personal Mean
Streets slotted into the genre. In a sense, it is Goodfellas that begins
Scorsese’s fascination with gangsters, with Casino and The Irishman
completing a trilogy of De Niro-led mob masterworks. It has one of the
greatest voiceovers in movie history, and a tracking shot to die
for. Scorsese was now unimpeachably an American artist.
Film: Goodfellas (1991)
7. ORGANISING CHAOS
There were more accusations of selling out with Cape Fear, one for
Universal, the studio which had braved The Last Temptation of Christ. But
this remake of a classic studio thriller, a ripe and raucous North Carolina
tale of vengeance, is Scorsese at play and aswirl with formal experiments
(the colour, the close ups, De Niro all but walking into the camera). In
marked contrast, and declared a radical departure (are we so sure?), Edith
Wharton adaptation The Age of Innocence locks the turmoil within. Under the
spell of Welles and Visconti, Scorsese wanted to do a romantic piece.
Naturally, it was devastating. Casino was safer turf, a coruscating
depiction of the Vegas chapter of mob life (with De Niro resplendent in
gleaming suits) with a good portion of marital chaos thrown in (that
Scorsese speciality). Sharon Stone is fabulous. Too easily written off as a
detour, Kundun was certainly a departure: not only in subject matter, the
early life of the fourteenth Dalai Lama, but in its almost meditative
style.
Films: Cape Fear (1991), The Age of Innocence (1993), Casino (1995), Kundun
(1997)
8. LOST SOULS
Another sidelined as lesser Scorsese, there is a lot to be said for
Bringing Out the Dead. For one thing, written by Schrader, it is a
spiritual sequel to Taxi Driver, studying mental disintegration of Nicolas
Cage’s New York paramedic, who sees the ghosts of those he couldn’t save.
After which, Scorsese’s ambitions gain more than a glint of the epic. His
budgets soar, as does his scope, and how personal were these films?
Leone-influenced birth-of-America extravaganza Gangs of New York is flawed
but monumental, and finds Day-Lewis in fine fettle. With DiCaprio now the
flavour of choice Howard Hughes biopic The Aviator is both a glistening
portrait of Golden Era Hollywood and another study in mental
disintegration. Multi-faceted, star-laden, and hugely entertaining (which
often gets categorised as a negative when it comes to Scorsese), Boston-set
crime thriller The Departed almost plays as black comedy, with the director
entertaining himself royally within the tropes of the police movie. That it
finally one him his Oscar is all part of the joke.
Films: Bringing Out the Dead (1999), Gangs of New York (2002), The Aviator
(2004), The Departed (2006)
9. ILLUSIONISTS
Scorsese is by now untouchable. We simply awaited his next film, assured
there would be loss of quality. Or intensity. There were arguments raised
that he was taking it easy, enjoying the fruits of his exalted position. No
more hustling for money – he and Spielberg alone could do as they pleased.
But that is another fallacy. Shutter Island on the one hand has the
hallmarks of a B-movie (a stylistic choice), and hinges on the cliché of a
big twist, but it is film that cries out for a second viewing to savour the
virtuosity of the filmmaking. Hugo too is easily dismissed as Scorsese’s
attempt at a children’s film (and an experiment in 3D), but within its
steampunk fantasy is a love song to the birth of cinema. The Wolf of Wall
Street is a major work in a zany tenor – a heady, hilarious portrait of
greed unleashed and the American Dream as rampant farce. Scorsese stands
aloof, daring us to enjoy the antics of DiCaprio’s corrupted anti-hero.
Centring on a vivid clash of cultures in period Japan, Silence couldn’t be
more contrasting, but there is a shared exploration of monomaniacal
obsession (are they self-
portraits of the director’s creative obsessions?) as illicit missionary
Andrew Garfield is driven on and deluded by an unwavering faith.
Films: Shutter Island (2010), Hugo (2011), The Wolf of Wall Street (2013),
Silence (2016)
10.THE LONG GAME
The older, longer, grander Scorsese is determined to tell his tales with
novelistic scope,American history pouring into his restless camera. The
Irishman is (perhaps) his culminatingstatement on how tightly organised
crime is woven into American life. Yet it is still a portraitof an
unreachable psyche: that of the hitman who must finally assassinate his
friend, fabledand problematic union boss Jimmy Hoffa. What a cast: De Niro,
Al Pacino, Pesci (persuadedout of retirement), Keitel. It is lavish and
superb in so many ways, but in its volume was therea loss of the early
electricity? Killers of the Flower Moon, ostensibly a Western, or a
crimethriller, or a historical drama, or another sketch of a faulty
marriage (or all of the above), toldof the Osage people who discover oil
under their reservation and the white men who trickedit from them by foul,
murderous means. It is extraordinary, but we wonder if a tighter
filmexisted under its skin. Can there be such a thing as too much Scorsese?
So where next, forthere is no loss of appetite? There is talk of a Sinatra
biopic with DiCaprio, a Roosevelt picture,a new Christ-bio in The Life of
Jesus (in which he might act), or an adaptation of MarilynneRobinson’s song
to Midwestern life Home. Wherever he goes, we will still follow.
Films: The Irishman (2019), Killers of the Flower Moon (2023), future
projects
Sidebars
SAVED BY CINEMA
Scorsese has had two religions in his life, Catholicism and cinema. But it
was cinema that saved him and gave him a life. He still worships and still
watches. This sidebar is a summary of all the key films and filmmakers that
have influenced him. A roll-call of love.
PERSONAL JOURNEYS
Quite aside from his features films, and as another testament to his
unquenchable creativity, Scorsese is one of the great modern
documentarians. He has covered music: Woodstock, The Last Waltz, No
Direction Home: Bob Dylan. He has made epic poems to cinema (essential
viewing): A Personal Journey with Martin Scorsese Through American Films,
My Voyage to Italy. Personal documents, including Italianamerican, about
his parents. And tributes to American culture: Public Speaking (about Fran
Lebowitz) and The 50-Year Argument (a history of the New York Review of
Books).
MARTY AND BOBBY
A small but significant portrait of Scorsese’s relationship with De Niro.
How they met. Why they clicked. And why they remain one of the greatest
actor-director double acts we have ever known. To the both of them, it is
still something of a mystery.