Silence

In the Mid-17th Century,  two Portuguese Jesuit priests (Andrew Garfield, Adam Driver) embark to the incredibly perilous island of Japan where Catholicism has been banned where they perform the sacraments on the furtively practicing peasants and to learn the fate of their stalwartly devout mentor (Liam Neeson) who they learned has left the priesthood and is living as a layman with a wife. From a novel by Shusaku Endo, Silence is an impassioned work of devotion, doubt, and faith by Martin Scorsese, who wrote the screenplay with longtime friend and collaborator Jay Cocks, which will serve as a challenge for modern movie-going audiences. Grueling, measured, and thoughtful with the preeminent direction, production values, and performances (especially Garfield's tortured turn) you would expect.

*** 1/2 out of ****

The 50 Year Argument

A documentary from Martin Scorsese and David Tedeschi looking into the half century run of The New York Review of Books, a contentious radical publication with a misleading name whose actual stated agenda is to print op-ed pieces tackling hot button issues to affect public opinion. With focus on its founding and long serving editor Robert Silvers, the film covers various articles over the years with appearances from many of their contributors, with topics ranging from the questioning of U.S. involvement in the war in Vietnam, to the Arab Spring, to a volatile feud between Gore Vidal and Norman Mailer ignited by a Vidal piece first issued in the journal. Meandering, as is to be expected with such a cinematically tenuous subject, The 50 Year Argument is interesting in sections, sections you wish would have been elaborated upon.

*** out of ****

Boardwalk Empire

Season 4 (2013) and 5 (2014)

As Nucky makes peace arrangements with Rothstein and Masseria, he pursues new business interests in Florida while being strong armed by a Harlem gangster, pursued by a crooked agent of the Justice Department, an targeted by an increasingly ambitious and ruthless Luciano. In a detached story, as his reign comes to an end, we learn Thompson's rags to riches tale of how he became Treasurer of Atlantic City. The 4th season of Boardwalk Empire is still watchable yet a far cry from where it stood in its first few runs. Wright is a disappointing and ineffectual villain, new cast additions either fall flat (Brian Geraghty, Eric Laden) or are poorly utilized (Patricia Arquette, Ron Livingston). Shea Whigham is a standout among the principal cast. The 5th and final, abbreviated outing marks a great disappointment with the showrunners appearing to take up a task (an admittedly difficult one) that was beyond them with no idea where to go. A leap forward in time meshed with a horrid backstory topped off with a pathetic, barely thought out finale was sadly where signs had been pointing for the drama and should serve as a lesson for anyone attempting to do serialized historical fiction.
Season 4 : *** out of ****
Season 5 : ** out of ****

Season 3 (2012)

As New Year's Eve 1922 is celebrated in Atlantic City, Nucky's (Steve Buscemi) decision to constrict his bootlegging practices offends a highly volatile (and easily offendable) gangster (Bobby Cannavale) who commandeers a nearby suburb and sets his sights on A.C. On other fronts, Margaret (Kelly Macdonald) enjoys her newly acquired duties at the local hospital, though her seeds of dissatisfaction will germinate through the course of an affair with her husband's subordinate (Charlie Cox). Gillian  (Gretchen Mol) continues to scheme and grieve following her loss, Van Alden (Michael Shannon) attempts to establish himself in an unfriendly Windy City, and Richard (Jack Huston) may have found a solace he could have never imagined since attaining his war injury. "Boardwalk Empire's" third go round features some of the most dazzling visuals and fancy camerawork the series has had to offer, but is the most slight in terms of plot. The aforementioned subplots, in addition to others, hold interest in their own right, but often feel like filler and as not contributing to the thrust of the plot. Newcomer Cannavale is excellent though, and his explosive presence offers many alternately humorous and terrifying moments to the series. Also a body ridden season finale is not nearly as satisfying as the pulse pounding episode that preceded it.
*** 1/2

Season 2 (2011)

With a coup underway to oust Nucky, both Jimmy and the targeted treaurer's brother Eli walk a treacherous path, dealing not only with devious gangsters but also a crippling strike by the African-American community at the heart of the summer season. On top of his legal problems, Nucky faces personal problems as a discontented Margaret, now grief ridden after her daughter has been stricken with polio, finds solace with the local parish priest and in overly generous offerings to the Lord. The second season of "Boardwalk Empire" is an almost unfathomable continuation of excellence, somehow maintaining the same cinematic level of greatness achieved in season one. Steve Buscemi turns in a wonderful, nuanced performance which is unlike any other gangster portrayal, at least that I've ever seen. Michael Pitt contributes affecting award worthy work as the cheerless and deceitful Jimmy and Kelly Macdonald is still incredible in the complex role of Margaret. In an impeccable supporting cast, Michael Shannon stands out as the dogged federal agent whose story takes more than a few unexpected turns and Shea Whigham as Buscemi's frustrated, overlooked brother. With its alternately beautiful, brutal, and affecting methods, "Boardwalk Empire" achieves an excellence in television that no other series, with the exception of "Mad Men", even remotely approaches.

****

Season 1 (2010)

Usually I keep television shows out of the blog, but I feel Boardwalk Empire is a series that approaches great film and, while watching, it feels like a solid 12 hour movie. This should come as no surprise since the show is brought to us by legendary filmmaker Martin Scorsese. He directed the first episode, offering the blueprint for the subsequent episodes. He also produces and consults on other aspects of the show. Boardwalk was created by Sopranos veteran Terrence Winter and he brings along other members of that great show. Again, we have a show set in New Jersey, this time in Atlantic City and again we follow professional criminals who drink, screw, curse, lie, cheat, steal, swindle, and murder. We follow several story threads and the main character is AC treasurer Nucky Thompson played by a finely tuned Steve Buscemi. This is not another Tony Soprano, as Thompson has more of a soft spot. This doesn't mean that he isn't capable of carrying out heinous acts. We meet a young Irish widow (Kelly McDonald) who comes into his life and also Jimmy (Michael Pitt) and young enforcer he sees as his own son. The story mixes real characters with fictional ones and all are played by fine actors: Michael Stuhlbarg plays Arnold Rothstein, the New York gangster who becomes at odds with Nucky and his crew. His segments are a highlight of the show and wonderfully acted by Stuhlbarg. Michael Shannon plays an agent and religious zealot on the hunt for bootleggers. We also meet characters such as a hot headed Al Capone, Lucky Luciano, and Warren G. Harding. Boardwalk Empire is also a visual success and a screenwriting success. In an era when ignorance passes for good television, this show is like a breath of fresh air. I urge you seek it out on DVD or on reruns on HBO.

****

The Blues

The Blues is an seven part series presented by several accomplished filmmakers including Martin Scorsese, Wim Wenders, Charles Burnett, Mike Figgis, and Clint Eastwood who document the distinct American art form from its origins in West Africa which made its way through the slave trade to the Mississippi Delta and continuing right up until the present day. Each episode takes a different approach on the same subject, which tends to grow redundant as the series progresses, but is worth watching for its wealth of performances which range from B.B. King, Ray Charles, Dave Brubeck, Dr. John, and Van Morrison in addition to the amazing archival footage. 

Shine a Light

The Rolling Stones have played on the soundtrack of many of Martin Scorsese's classic films, and the authoritative bands' music has clearly been an instrumental part of the director's adult life. In this 2006, two night concert held at Manhattan's Beacon Theatre, these monumental figures of the last half century of film and music collaborated for the first time (well technically Ron Wood appeared in The Last Waltz) in a rigorous (the introductory staging shots are very telling), high energy show. In their mid-60s at the time, the group doesn't sound particularly sharp, but Mick Jagger still moves with a sinuous virtuosity and Keith Richards, Wood, and Charlie Watts all still emit the exuberance of performing. They also receive a nice boost from guest performers Jack White, Christina Aguilera, and especially Buddy Guy and interspersed excerpts from vintage interviews are also a highlight.

The Wolf of Wall Street

Jordan Belfort, a Bronx youth of humble beginnings, soaring ambitions, and unrequited appetites began modestly as a grunt at a Wall Street firm before losing his brokerage job during the stock market crash of 1987. Forced to go to work for a rinky dink suburban storefront operation selling penny stocks to desperate investors, he hit upon the brilliant idea of training a band of none too bright, wide eyed entry levelers to pawn these worthless commodities upon the major traders. Setting up his Stratton Oakmont firm in Long Island, a raucous den of unbridled hedonism, Belfort raked it in hand over fist while commanding his troops and bulldozing through masses of pills, booze, hookers, and coke before an SEC fraud charge coupled with an FBI investigation brought an end to his merry reign. Working together for the fifth time, Martin Scorsese and Leonardo DiCaprio push this true life story of greed and blatant self-indulgence to the limit, and instead of moralizing and offering haughty statements on capitalism as one would expect from this type of picture, they present it at face value and make their point in smaller moments amidst all the glut and insanity. The film took a little while to pull me in, and it didn't always work when it did, but when the film clicks it is absolute dynamite. And despite all the constant excesses on hand, Terrance Winter's screenplay manages to captivate and not wear you down like Belfort's redundant, ego-stroking memoir upon which the movie is based. DiCaprio is in top form with another extremely demanding, mostly comical performance and Jonah Hill has also found himself another fine supporting part as Belfort's shameless right hand man. I had problems with some of the casting, Rob Reiner most glaringly as Leo's father and Margot Robbie as his trophy wife but some of the supporting performances are of high order: Matthew McConaughey in the opening scenes, Jon Bernthal as a muscle bound pill pusher, and Kyle Chandler who is integral to some of the best scenes in the picture playing a tenacious FBI agent. With The Wolf of Wall Street, Scorsese covers a lot of prior territory, but the film never seems dull or longish during its epic running length, and achieves something remarkable in many of the disorderly scenes and, again, in the fleeting, quiet ones.

The Departed

Two members of the same graduating class of the Massachusetts State Police are thrown into a dog-eat-dog cat and mouse game, one (Leonardo DiCaprio) sent deep undercover to take down a Boston crime lord (Jack Nicholson), the other (Matt Damon) a mole in the department for the ruthless gangster. Based  on Infernal Affairs, a 2002 picture out of Hong Kong, and also on the exploits of organized crime boss Whitey Bulger (whose trial just played out in spectacular fashion), Martin Scorsese's The Departed is one of the great cinematic juggling acts with William Monahan's screenplay right on up there with Casablanca, The Third Man, and Chinatown. There are purists who defend Wai-keung Lau's picture, and while it's never fair to knock an original, especially one that's very good in its own right, when comparing it to the remake it is like checkers to chess. As for the acting, I think this is Leo's best work (his scenes with Vera Farmiga are incredibly powerful), Damon is stalwart and carries much of the picture, and the supporting cast, which also includes Martin Sheen, Ray Winstone, Alec Baldwin, and Mark Wahlberg (aside from his over-the-top introductory scene), is phenomenal. The one exception, sad to say, is Nicholson who is at his creepiest, screen gnashing worst and barely successful in the fearsome way the film intends.

Gangs of New York

In 1863 during the heart of the Civil War and with a major conscription act on the horizon, a young man (Leonardo DiCaprio) returns to the Five Points, a deadly melting pot on the south side of Manhattan, to seek vengeance on the merciless political boss (Daniel Day-Lewis) who took his father's life. Gangs of New York was a years in the making passion project for Martin Scorsese and Jay Cocks (who wrote the screenplay with Steven Zaillian and Kenneth Lonergan) whose production was also beset with great difficulties, and the result is an original, full-blooded, imperfect epic. DiCaprio's performance is a mixed bag, alternating between powerful and grossly lacking, a lot of which, I think, has to do with the pairings. For example, Leo will play up to a stronger performer (Day-Lewis) while his work suffers when, how shall I put it, he is met with lesser company (Cameron Diaz is atrocious and a good part of the picture suffers for it). Even the Day-Lewis performance, which I once would have ranked among the greats, while still powerful, often comes off as caricature. Aside from these quibbles with the acting, the rest of the production is on point, highlighted by several heart pounding sequences which include the opening turf war, Day-Lewis' stunt performance, and the draft riots. I must add that this was one of the great, captivating theater experiences I've had and watching it a decade later, though some of its flaws are more evident, much of its greatness is still intact.

Kundun

Kundun begins with the expansive search to find a child worthy of taking up the mantle of the 14th Dalai Lama, the spiritual leader of Tibet, and details his coming of age (where he quickly discovers the immensity of his charge) before having to ward off the encroaching Chinese until his inevitable exile which is still in place to this day. Martin Scorsese's film, which appears to have been a cathartic change of pace following the out of hand violence of Casino, is beautifully photographed by Roger Deakins, features an exemplary Philip Glass score, and contains some extraordinary sequences but is hurt by overlength punctuated by too many storytelling lulls.

Casino

The rise and fall of crackerjack handicapper Sam "Ace" Rothstein (Robert De Niro playing a character inspired by Lefty Rosenthal), as his acute abilities earn him the reins of the mob controlled Tangiers Casino in Las Vegas before his hot headed best friend/enforcer (Joe Pesci), a gorgeous and avaricious call girl (Sharon Stone), and his own vanity all combine to topple his empire. Working again with Nicholas Pileggi, Martin Scorsese's Casino is another detailed, stylish, and richly textured work that, while bordering a little too closely to Goodfellas territory, still makes for a riveting entertainment for the duration of its extensive running length. The film provides De Niro with one of his career performances, as he somewhat remarkably generates sympathy for an unlikable character. Pesci plays more of the same but is still wickedly amusing and the Stone performance, one I've wavered about over the years, presently strikes me as audacious and powerful. My only major objection is with the level of violence, which is amongst the harshest I've seen in a studio film. What could have been made just as effectively in a more restrained manner serves only to take you out of the picture.

Bringing Out the Dead

From Joe Connelly's novel drawing on real life experiences, Bringing Out the Dead offers a nightmarish glimpse into the life of a burned out paramedic (Nicholas Cage) as he works the weekend night shift in a Hell's Kitchen where any and everything can happen, which has been all the more amplified by a lethal substance which has just infiltrated the local drug market. Working again with screenwriter Paul Schrader,  Martin Scorsese offers a series of amazingly filmed vignettes, highlighted by a riveting soundtrack (featuring Van Morisson, The Rolling Stones, R.E.M., and Frank Sinatra among others), and is anchored by a harrowing, all-in performance from Cage who receives great support from then wife Patricia Arquette, Cliff Curtis as a neighborhood pusher, Nestor Serrano as a worn emergency room doctor, and John Goodman, Ving Rhames, and Tom Sizemore who play Cage's colorful driving partners.

A Personal Journey with Martin Scorsese Through American Movies

Like most of the great filmmakers of his and following generations, Martin Scorsese is a cineaste, himself boasting an encyclopedic, obsessive knowledge and deep enthusiasm for classic films. In this four hour plus documentary, the director of such definitive films as Taxi Driver, Raging Bull, and Goodfellas takes us through the many movies that helped shape his life and encouraged him to pursue his line of work. Despite the sheer length and simplicity of this project, it is st.ill an entertaining and enlightening work thanks both to Scorsese's engaging personality and his always restless approach behind the camera, even when its just filming himself addressing it.

Martin Scorsese Directs

Martin Scorsese Directs was one of the early entries in PBS' American Masters series and was released in conjunction with the premiere of Goodfellas (the documentary features some great footage from the set). Even during this middle period of the celebrated, distinctive, and neurotic director's career, who had thus far helmed such masterworks as Mean Streets, Taxi Driver, Raging Bull, and The Last Temptation of Christ, he was already being mentioned among the likes of Frank Capra, John Ford, Howard Hawks, and Alfred Hitchcock. The documentary is an engaging and often very funny celebration of his life and career by many friends and collaborators, including Robert De Niro, Joe Pesci, Steven Spielberg, Roger Corman, Thelma Schoonmaker, John Cassavetes, and of course, his parents.

The Age of Innocence

A high society attorney (Daniel Day-Lewis) is set to marry a woman of similar breeding (Winona Ryder) when he falls hard for her cousin (Michelle Pfeiffer), a blighted ex-aristocrat and current pariah in their gossipy social circle. Martin Scorsese takes a detour from his usual time and place settings to adapt Edith Wharton's damning critique of the mid-19th century Manhattan elite. The film is exquisitely shot, with the director's trademarked restless camera, and incredibly acted by the leads. The film also features fine narration from Joanne Woodward and an ending that is memorably flooring.

Cape Fear (1962 and 1991)

Adapted for the screen twice from John D. MacDonald's novel The Executioners, Cape Fear tells the story of a convicted rapist being released after a lengthy prison term who makes it his life's mission to track down the attorney who sent him up the river (in the earlier version in was a witness who testified against him, the latter his own counsel who withheld evidence) and make his life a living hell. J. Lee Thompson directed the 1962 film which is surprisingly gritty for its time and most notable for Robert Mitchum's terrifyingly believable yet naturalistic performance (it made me wonder how close this role was to his actual persona) as the vile Max Cady. Gregory Peck is strong in the opposing role, but the character is always in the right and pretty uninteresting as a result, as are the female characters who are played by absolutely horrendous actresses. Martin Scorsese's 1991 remake serves as an improvement in almost every way: the heightened direction, photography, a screenplay involving new dynamics concerning the family, and fine performances by Nick Nolte (who takes over the Peck role), Jessica Lange, and Juliette Lewis. However, Robert De Niro as Cady is so over the top and the film ultimately turns relentessly unpleasant.

Goodfellas

The rise and fall of Henry Hill, who spent his childhood in Little Italy idolizing the local two-bit hoods, rose in their rackets, and lived the live (including having participated in the record setting Lufthansa heist) before resorting to drugs and turning government witness, the ultimate betrayal to his friends and associates. After repeated viewings and a more than passing familiarity with the movie, Goodfellas is still a completely engaging and perhaps the most watchable of all films as it takes a dead on eye level, blinders off, deglamourized riff on the mob. After once more taking the journey into this violent, yet often humorous and seductive territory through the lens of Scorsese's never resting camera, who worked with Nicolas Pilleggi in adapting the journalist's seemingly insider book Wiseguy, it hit me just how good some of the lesser heralded performances are in the movie (Pesci still steals the film), specifically the work of Ray Liotta and Lorraine Bracco, also doubling as narrators as they provide an outsider's and often bemused view of the lifestyle. The soundtrack also bears mentioning as a great collage with artists varying between, Tony Bennett, Aretha Franklin, Eric Clapton, The Ronettes, The Rolling Stones, and Muddy Waters.

New York Stories

New York Stories is a compendium of three short films from directors whose oeuvre has been largely defined by the megalopolis. Leading off is Martin Scorsese with Life Lessons which details an artist's attempts to lure his ex-girlfriend/muse to stay with him in his studio apartment, allotting him both the opportunity to finish his gallery painting and torment her psychologically. It is a well realized film, written by Richard Price and based on a Dostoevsky short story, and features two nice performances from Nick Nolte and Rosanna Arquette. Up next is Francis Ford Coppola serving up pointless tripe with Life without Zoe which he concocted with his daughter Sofia. It tells a cloying Eloise like story about a young girl living on her own in a ritzy Manhattan hotel. Woody Allen wraps things up with Oedipus Wrecks, a hilarious tale (and my personal favorite of the lot) of an attorney being literally haunted by his overbearing mother following a mishap at a magic show.

The Last Temptation of Christ

A rage and incertitude plague a very mortal Jesus (Willem Dafoe, ideally cast) as he is challenged by a browbeating Judas (Harvey Keitel) and wrestles with the dilemma of His father's calling, especially during His final hours on the cross, when He is tempted with visions of a life of domestic bliss with Mary Magdalene (Barbara Hershey). Adapted from the inflammatory Nikos Kazantzakis novel by the director's oft-collaborator Paul Schrader, The Last Temptation of Christ was a longtime passion project for Martin Scorsese and one met with no less of a swell of controversy. Seen now, twenty five years after its release, it is difficult to understand these contentions in a film made with the utmost respect and reverence which asks difficult questions and presents a savior who resists when confronted with the ultimate temptation and also offers a highly accessible portrait of Jesus' human side.

After Hours

A office drone (Griffin Dunne) heads to lower Manhattan to meet up with a woman (Rosanna Arquette) he became acquainted with earlier that evening, thus beginning a mericless, Kafkaesque trial of the will where he will be dogged by everyone and everything, from neighborhood watch people to subway workers and cab drivers to various art crowd weirdos and local thiefs. After Hours is a brilliantly constructed and immensely entertaining black comedy from Martin Scorsese, an unlikely candidate to make this kind of picture who delivers with his usual aplomb. It also provides a fine lead vehicle for Griffin Dunne, whose part is a lot trickier than may appear at first glance. While finding myself laughing aloud consistently while revisiting this little gem, I lamented the current state of comedies, where comedic moviemakers take the easy road out with witless, gross-out efforts, and once again marveled at the abilities of one of our finest filmmakers, succeeding admirably in a genre where most directors today fail.

Italianamerican and American Boy: 2 Nonfiction Films from Martin Scorsese

When Martin Scorsese has forayed into documentary filmmaking, it is usually to capture either music (The Last Waltz, No Direction Home, The Blues) or film (A Personal Journey..., A Letter to Elia) topics. Early in his career however he aimed his camera at very personal subjects, interviewing first his parents and then a close friend in two separate hour long profiles. In Italianamerican, following his breakthrough success of Mean Streets, Scorsese interviews his parents Charles and Catherine who, with warm detail, tell of their experiences as second generation immigrants by way of story spinning and pictures, stopping occasionally to offer family recipes and berate their son. Made several years later, during a particular low point for the director, American Boy features Steve Prince, a man of many hats (one of which was a memorable bit as an actor in Taxi Driver), who tells wild stories of his often drug addled life on the road, some of which have found their way into films by modern directors such as Quentin Tarantino and Richard Linklater. Whether it's a big budget studio picture or two friends exchanging stories in an apartment, it has always boiled down to simple storytelling and with these two films we simply have one great storyteller introducing a few others.