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اسکورسیزی به روایت راجر ایبرت
چاپ ۱۳۸۹
324 pages, Paperback
First published October 1, 2008
39 people are currently reading
851 people want to read
About the author
Roger Ebert
91 books403 followersRoger Joseph Ebert was a Pulitzer Prize-winning American film critic and screenwriter.
He was known for his weekly review column (appearing in the Chicago Sun-Times since 1967, and later online) and for the television program Siskel & Ebert at the Movies, which he co-hosted for 23 years with Gene Siskel. After Siskel's death in 1999, he auditioned several potential replacements, ultimately choosing Richard Roeper to fill the open chair. The program was retitled Ebert & Roeper and the Movies in 2000.
Ebert's movie reviews were syndicated to more than 200 newspapers in the United States and abroad. He wrote more than 15 books, including his annual movie yearbook. In 1975, Ebert became the first film critic to win a Pulitzer Prize for Criticism. His television programs have also been widely syndicated, and have been nominated for Emmy awards. In February 1995, a section of Chicago's Erie Street near the CBS Studios was given the honorary name Siskel & Ebert Way. Ebert was awarded a star on the Hollywood Walk of Fame in June 2005, the first professional film critic to receive one. Roger Ebert was named as the most influential pundit in America by Forbes Magazine, beating the likes of Bill Maher, Lou Dobbs, and Bill O'Reilly.[2] He has honorary degrees from the University of Colorado, the American Film Institute, and the School of the Art Institute of Chicago.
From 1994 until his death in 2013, he wrote a Great Movies series of individual reviews of what he deemed to be the most important films of all time. He also hosted the annual Roger Ebert's Overlooked Film Festival in Champaign, Illinois from 1999 until his death.
He was known for his weekly review column (appearing in the Chicago Sun-Times since 1967, and later online) and for the television program Siskel & Ebert at the Movies, which he co-hosted for 23 years with Gene Siskel. After Siskel's death in 1999, he auditioned several potential replacements, ultimately choosing Richard Roeper to fill the open chair. The program was retitled Ebert & Roeper and the Movies in 2000.
Ebert's movie reviews were syndicated to more than 200 newspapers in the United States and abroad. He wrote more than 15 books, including his annual movie yearbook. In 1975, Ebert became the first film critic to win a Pulitzer Prize for Criticism. His television programs have also been widely syndicated, and have been nominated for Emmy awards. In February 1995, a section of Chicago's Erie Street near the CBS Studios was given the honorary name Siskel & Ebert Way. Ebert was awarded a star on the Hollywood Walk of Fame in June 2005, the first professional film critic to receive one. Roger Ebert was named as the most influential pundit in America by Forbes Magazine, beating the likes of Bill Maher, Lou Dobbs, and Bill O'Reilly.[2] He has honorary degrees from the University of Colorado, the American Film Institute, and the School of the Art Institute of Chicago.
From 1994 until his death in 2013, he wrote a Great Movies series of individual reviews of what he deemed to be the most important films of all time. He also hosted the annual Roger Ebert's Overlooked Film Festival in Champaign, Illinois from 1999 until his death.
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Displaying 1 - 30 of 53 reviews
January 12, 2012
When I saw that my favorite movie critic wrote a book about my favorite director I knew I had to read this book!
From the book’s introduction-
“Roger Ebert wrote the first film review that director Martin Scorsese ever received—for 1967’s ‘I Call First’—when both men were just embarking on their careers. Ebert had never been touched by a movie in quite the same way before, and this experience created a lasting bond that made him one of Scorsese’s most appreciative and perceptive commentators. ‘Scorsese by Ebert’ offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director. The book chronicles every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary, ‘Shine a Light’.”
The book does recount every review Ebert wrote including several of the obligatory interviews with the director during the some of his movie’s press tour as well as some reconsiderations on his earlier reviews. I also thought it would be illuminating to read the thoughts of someone who was there from the beginning of Scorsese’s career or as the introduction puts it “when both men were just embarking on their careers”. They’re generally the same age and have similar backgrounds and are ideally kindred spirits.
Not surprisingly I enjoyed the writings about the Scorsese films I either liked or have an interest in the most. It was also good to read about Scorsese’s early works when he was just starting out. You can read how someone who is considered one of the great American filmmakers started out with struggles with the studios and to get his films made. Through Ebert’s interviews with Scorsese you can see how passionately and deeply he feels about the art of film.
Scorsese’s passion is evident in a chapter I particularly enjoyed, a reprint of a transcript from a master class Scorsese and Ebert had (Part 4: Reflecting; page 157) when Scorsese received an award from the School of the Arts at Ohio State University in 1997. You could really visualize Scorsese’s enthusiasm for film when you read it.
The last chapter of the book, a chapter I was looking forward to “Part 6: Masterpieces” was actually the worst. It was pretty much a regurgitation of what was said earlier in the book. For the record said "Masterpieces" were-‘Mean Streets’, ‘Taxi Driver’,‘Raging Bull’, ‘GoodFellas’ & ‘The Age of Innocence’.
In the end though I enjoyed the book and reading about an auteur and whom I consider a master of film.
From the book’s introduction-
“Roger Ebert wrote the first film review that director Martin Scorsese ever received—for 1967’s ‘I Call First’—when both men were just embarking on their careers. Ebert had never been touched by a movie in quite the same way before, and this experience created a lasting bond that made him one of Scorsese’s most appreciative and perceptive commentators. ‘Scorsese by Ebert’ offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director. The book chronicles every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary, ‘Shine a Light’.”
The book does recount every review Ebert wrote including several of the obligatory interviews with the director during the some of his movie’s press tour as well as some reconsiderations on his earlier reviews. I also thought it would be illuminating to read the thoughts of someone who was there from the beginning of Scorsese’s career or as the introduction puts it “when both men were just embarking on their careers”. They’re generally the same age and have similar backgrounds and are ideally kindred spirits.
Not surprisingly I enjoyed the writings about the Scorsese films I either liked or have an interest in the most. It was also good to read about Scorsese’s early works when he was just starting out. You can read how someone who is considered one of the great American filmmakers started out with struggles with the studios and to get his films made. Through Ebert’s interviews with Scorsese you can see how passionately and deeply he feels about the art of film.
Scorsese’s passion is evident in a chapter I particularly enjoyed, a reprint of a transcript from a master class Scorsese and Ebert had (Part 4: Reflecting; page 157) when Scorsese received an award from the School of the Arts at Ohio State University in 1997. You could really visualize Scorsese’s enthusiasm for film when you read it.
The last chapter of the book, a chapter I was looking forward to “Part 6: Masterpieces” was actually the worst. It was pretty much a regurgitation of what was said earlier in the book. For the record said "Masterpieces" were-‘Mean Streets’, ‘Taxi Driver’,‘Raging Bull’, ‘GoodFellas’ & ‘The Age of Innocence’.
In the end though I enjoyed the book and reading about an auteur and whom I consider a master of film.
July 7, 2020
2 lads that really know their crafts.
May 20, 2025
کتاب اسکورسیزی به روایت راجر ایبرت اثری است که بیش از هر چیز، به ما این فرصت را میدهد که به دنیای ذهنی و سینمایی یکی از بزرگترین فیلمسازان تاریخ نزدیک شویم. در این گفتوگوهای صمیمی و بیپرده، راجر ایبرت، منتقد برجسته سینما، اسکورسیزی را به چالش میکشد تا نه تنها از پروسه ساخت فیلمهایش، بلکه از دلایل، شکها و تردیدهایش در طول این سالها بگوید.
این کتاب بهعنوان یک مجموعه ارزشمند، صرفاً به تحلیل آثار اسکورسیزی نمیپردازد، بلکه به نوعی تلاش دارد تا نگاه پیچیده و شخصی این فیلمساز به زندگی، هنر، و سینما را برای مخاطب باز کند. ایبرت که با دقت و مهارت به سؤالها میپردازد، اجازه میدهد تا اسکورسیزی در کنار جزئیات فیلمسازیاش، از فراز و نشیبهای درونی خود نیز سخن بگوید. این گفتوگوها نه تنها فیلمهای او را در کانون توجه قرار میدهند، بلکه جهان درونی این هنرمند را به ما میشناسانند.
از گفتگوهای صریح درباره خشونت در سینما تا بازگشت به ریشههای مذهبی و ایتالیایی او، این کتاب بهخوبی نشان میدهد که اسکورسیزی همیشه بیشتر از یک کارگردان، یک پرسشگر بوده است. هر فصل از این کتاب ما را بهسوی بخشهای مختلف ذهن و روح اسکورسیزی هدایت میکند و تصاویری جدید از این فیلمساز بزرگ به نمایش میگذارد.
یکی از ویژگیهای برجسته این اثر، دوری از قضاوتهای سطحی است. ایبرت نه تنها از اسکورسیزی انتقاد نمیکند، بلکه سعی میکند که با احترام و درک، ابعاد مختلف کار او را تحلیل کند. این رویکرد باعث میشود کتاب بهجای آنکه تبدیل به یک مرجع خشک و آکادمیک شود، به تجربهای انسانی و نزدیک تبدیل گردد.
اگر به سینمای اسکورسیزی علاقه دارید و دوست دارید که درک عمیقتری از فرآیند خلق آثار او پیدا کنید، این کتاب میتواند برای شما یک دریچهی جدید به دنیای فیلمسازی باشد. اسکورسیزی به روایت راجر ایبرت نه تنها یک گفتوگوی سینمایی است، بلکه یک سفر به درون ذهن و روح یکی از بزرگترین سینماگران تاریخ است.
این کتاب بهعنوان یک مجموعه ارزشمند، صرفاً به تحلیل آثار اسکورسیزی نمیپردازد، بلکه به نوعی تلاش دارد تا نگاه پیچیده و شخصی این فیلمساز به زندگی، هنر، و سینما را برای مخاطب باز کند. ایبرت که با دقت و مهارت به سؤالها میپردازد، اجازه میدهد تا اسکورسیزی در کنار جزئیات فیلمسازیاش، از فراز و نشیبهای درونی خود نیز سخن بگوید. این گفتوگوها نه تنها فیلمهای او را در کانون توجه قرار میدهند، بلکه جهان درونی این هنرمند را به ما میشناسانند.
از گفتگوهای صریح درباره خشونت در سینما تا بازگشت به ریشههای مذهبی و ایتالیایی او، این کتاب بهخوبی نشان میدهد که اسکورسیزی همیشه بیشتر از یک کارگردان، یک پرسشگر بوده است. هر فصل از این کتاب ما را بهسوی بخشهای مختلف ذهن و روح اسکورسیزی هدایت میکند و تصاویری جدید از این فیلمساز بزرگ به نمایش میگذارد.
یکی از ویژگیهای برجسته این اثر، دوری از قضاوتهای سطحی است. ایبرت نه تنها از اسکورسیزی انتقاد نمیکند، بلکه سعی میکند که با احترام و درک، ابعاد مختلف کار او را تحلیل کند. این رویکرد باعث میشود کتاب بهجای آنکه تبدیل به یک مرجع خشک و آکادمیک شود، به تجربهای انسانی و نزدیک تبدیل گردد.
اگر به سینمای اسکورسیزی علاقه دارید و دوست دارید که درک عمیقتری از فرآیند خلق آثار او پیدا کنید، این کتاب میتواند برای شما یک دریچهی جدید به دنیای فیلمسازی باشد. اسکورسیزی به روایت راجر ایبرت نه تنها یک گفتوگوی سینمایی است، بلکه یک سفر به درون ذهن و روح یکی از بزرگترین سینماگران تاریخ است.
December 7, 2019
I started this way back during my freshman year of college but I finally finished it. I stopped reading it because I used to do this stupid thing where I loved a book so much that I would stop so it would never end. Of course I never finished any books this way and I stopped doing that. But this is just a wonderful read from start to finish. It's 300 pages but I could read it in a day if I wanted to. It's a rare gift to have a book about your favorite director written by your favorite film critic. Oh how I wish Roger was alive to see The Irishman...
December 21, 2023
It's one of the greatest film critics of all time writing about and interviewing one of the greatest directors of all time. What more do you need to know?
March 2, 2012
I am not much of a Scorsese fan, but somehow I have seen almost all of his movies, that’s because I love Robert De Niro and Leonardo DiCaprio. Still, I never ever truly liked Scorsese’s movie, until, recently Hugo!
Then I had to read Scorsese by Roger Ebert because he is my favorite film critic. Scorsese by Ebert is a very solid book on a single movie director. I thoroughly enjoyed it. Ebert’s writing is so smart and insightful without being elitist or snobbish.
There are some repetitions since Ebert lays out different reviews on same movie. And sometimes it did seem kind of boring and feels like he’s really repeating and has nothing new to say. But still I think it’s very brave of him to even include the very early review of a movie. It’s so raw; I can almost smell the blood oozing out. It was heart-felt! You can see Ebert actually cares about movies and writes about it honestly! And intellectually!!! What a treat for any movie lover! And What an amazing treat for Scorsese’s fans!
Then I had to read Scorsese by Roger Ebert because he is my favorite film critic. Scorsese by Ebert is a very solid book on a single movie director. I thoroughly enjoyed it. Ebert’s writing is so smart and insightful without being elitist or snobbish.
There are some repetitions since Ebert lays out different reviews on same movie. And sometimes it did seem kind of boring and feels like he’s really repeating and has nothing new to say. But still I think it’s very brave of him to even include the very early review of a movie. It’s so raw; I can almost smell the blood oozing out. It was heart-felt! You can see Ebert actually cares about movies and writes about it honestly! And intellectually!!! What a treat for any movie lover! And What an amazing treat for Scorsese’s fans!
January 14, 2022
If you're a fan of the subject matter, and you probably are if you're picking it up, this is a fun read. If you're an Ebert fan or a Scorsese fan, or both (like me), this is the perfect book to nerd out over.
It doesn't work all that well as a book to be read cover-to-cover in a short time though. There is a lot of repitition. Ebert tends to recap the same themes and the same scenes in Scosese's work over and over. It's inherent to this type of collection, not because of a fault in the writing.
It doesn't work all that well as a book to be read cover-to-cover in a short time though. There is a lot of repitition. Ebert tends to recap the same themes and the same scenes in Scosese's work over and over. It's inherent to this type of collection, not because of a fault in the writing.
August 17, 2011
Obviously if you are a Scorsese fan, you will enjoy this book. My problem with it is the repetition. Ebert gives us his original review, but then in many cases, an updated review, and in some cases, an additional reflection review. That wouldn't be an issue if it was all new content. Unfortunately, Ebert repeats himself often. For example, if he mentioned the "madonna-whore complex" one more time, I was going to put down the book forever. He intersperses the reviews with interviews with Scorsese, who Ebert clearly knows well. Like the reviews, the interviews get repetitive since it's clear that Ebert knows his subject almost too well. Overall, an interesting read to pick up for fans.
July 15, 2012
Ebert and Scorsese both had Catholic childhoods. This makes it easy for the critic to understand the film maker's obsessions, and for him to appreciate his brilliance. Even though the book is redundant in parts, the interview with Scorsese is pretty great, and the recaps of all the films make the book an essential reference on this important director.
September 7, 2012
After having read this book I have some clues, at last, as to why the films by one of the most famous directors of our time have often, despite their fascinating subject matters and technical brilliance, remained inaccessible to me to a certain degree: 1) I am not pre-Vatican II; 2) I am not from New York; 3) I never dreamt of being a gangster when I was a child.
April 7, 2013
Indispensable. Absolutely, utterly necessary. I have a number of books about Martin Scorsese, but this is the one I usually reach for, especially now. The individual essays are of course superb, but taken together, they are vital and rich with anecdote and insight.
Oh, Roger. I'm going to miss you terribly.
Oh, Roger. I'm going to miss you terribly.
December 29, 2008
Essential reading for fans of either artist. This enthusiastic book of interviews, reviews and essays makes me want to rewatch many Scorsese films to see what I've missed up to now.
October 7, 2023
This was an interesting book, and it made me wish that there were more books like this, seeing a critic "track" a director across the years. There is an excitement when Ebert writes about Scorsese that is pretty infectious.
Having said that, the book suffers from a lot of repetition, which is probably in the nature of the beast. Most of these pieces were meant to be read several years apart, not back-to-back in the same hour. By the end of the book, if I were to read once more how both Scorsese and Ebert were shaped by the pre-Vatican II Catholic church, I might have screamed.
By the end of the book I have to say that I was getting a bit tired of Ebert's constant boosterism for Scorsese as "the greatest living American director." Where did Woody Allen and Clint Eastwood fit into Ebert's scheme of things? Scorsese makes great movies, yes, but up to when the book was written (The Aviator), one could argue that he operated on a narrow spectrum. (I really do not consider The Age of Innocence to be one of Scorsese's best films.)
Of course, we can only speculate on what Ebert would have said about Hugo, Shudder Island, The Wolf of Wall Street, Silence, and The Irishman, which also makes this book a bit frustrating.
Having said that, the book suffers from a lot of repetition, which is probably in the nature of the beast. Most of these pieces were meant to be read several years apart, not back-to-back in the same hour. By the end of the book, if I were to read once more how both Scorsese and Ebert were shaped by the pre-Vatican II Catholic church, I might have screamed.
By the end of the book I have to say that I was getting a bit tired of Ebert's constant boosterism for Scorsese as "the greatest living American director." Where did Woody Allen and Clint Eastwood fit into Ebert's scheme of things? Scorsese makes great movies, yes, but up to when the book was written (The Aviator), one could argue that he operated on a narrow spectrum. (I really do not consider The Age of Innocence to be one of Scorsese's best films.)
Of course, we can only speculate on what Ebert would have said about Hugo, Shudder Island, The Wolf of Wall Street, Silence, and The Irishman, which also makes this book a bit frustrating.
March 31, 2025
I was a bit let down at first by the fact that, apart from a few intros, this is a collection of previously published writings by Ebert. In the end it doesn't matter. We have two of the absolute bests at their crafts in conversation with each other. Ebert's decades long chronicle of the themes of Scorsese's films is of tremendous value. His reviews are always in conversation with each other and add to a cohesive whole. It's a shame we stop at The Departed and I would love an expanded edition including his thoughts on Shutter Island and Hugo, the final Scorsese film released before Ebert's death in 2013. That we will never hear his thoughts on The Wolf of Wall Street through Killers of the Flower Moon and (god willing) beyond is a great loss.
May 8, 2020
This was an unusual book. It is not a linear biography of Scorsese, in fact it is not a true biography at all but a look at his life amid his film work. There are 6 discussions/chapters in this non-fiction work - 1) Beginning, 2) Achieving, 3) Establishing, 4) Reflecting,(which is an interview with Ebert) 5) Venturing and 6) Masterpieces. I think the book is interesting and I learned a lot about Scorsese’s filmmaking but the problem I have with the book was that there was a lot of repetition in the book and a rehashing of the movie plots that have been gone over in previous chapters. However, if you are a big film fan or Scorsese fan, I will think you will like this book.
February 16, 2025
Scorsese's longevity is unbelievable. He's been making great movies for the past 60 years so my only issue with this book is that it only covered his career through 2007/The Departed. This means we didn't get any Killers of the Flower Moon, Wolf of Wall Street, The Irishman, or Shutter Island - movies that are solidly in his upper tier imo.
The other crazy thing is that you can be regarded as one of the greatest directors of your generation while simultaneously being viewed as 'unbackable' by the studios (just look at Coppola today). A lot of Scorsese's 'masterpieces' were only labeled as such decades after their initial releases to lackluster box office results (King of Comedy).
The other crazy thing is that you can be regarded as one of the greatest directors of your generation while simultaneously being viewed as 'unbackable' by the studios (just look at Coppola today). A lot of Scorsese's 'masterpieces' were only labeled as such decades after their initial releases to lackluster box office results (King of Comedy).
April 3, 2023
Caveat: this is the first full book of film criticism I've ever read.
I found it fully entertaining and was especially intrigued to see how Ebert's early fascination with elements of Scorcese's thematic and visual styles evolved. That being said, there wasn't enough new criticism in this text to justify a full length book. It's really just a best of album with one new single on it. Fine, but not much more than that.
I found it fully entertaining and was especially intrigued to see how Ebert's early fascination with elements of Scorcese's thematic and visual styles evolved. That being said, there wasn't enough new criticism in this text to justify a full length book. It's really just a best of album with one new single on it. Fine, but not much more than that.
March 26, 2021
My love of movies is indelibly tied up with the reviewer Roger Ebert. His humanism and self reflection is apparent in this brilliant anthology of MS work. I’m not the biggest fan of the subject matter nor being a male hailing from Little Italy but through Rogers eyes - I appreciate the range and talent of MS and what he represents in modern day film
June 25, 2025
Could only recommend this for super fans of Ebert and/or Scorsese, preferably both - luckily, that's exactly what I am so I enjoyed this compilations of reviews, interviews, and essays for the delightful history lesson it is, a collection of moments where The Great film critic and The Great film director of the past 50+ years intersected.
May 17, 2021
A bit outdated, as it consists mostly of reviews from films right after they came out, but overall most of Ebert’s outlook still holds up and is relevant even to this day, which says a lot about both Scorsese and Ebert. A definite must read for any big Scorsese fan who has seen all of his films.
November 9, 2017
A great writer on a great director.
May 26, 2019
Fun read
Nothing necessarily groundbreaking about the work of Scorsese, but pretty enjoyable. A good read if you are a fan of Ebert or Scorsese.
Nothing necessarily groundbreaking about the work of Scorsese, but pretty enjoyable. A good read if you are a fan of Ebert or Scorsese.
May 5, 2022
Take a drink every time he brings up the Madonna-Whore complex.
Reviews are fine but get awfully repetitive when placed together like this.
Reviews are fine but get awfully repetitive when placed together like this.
March 30, 2023
Essential reading for any Scorsese fan!!
September 10, 2023
Useful as a career survey but repetitive and not wholistic. Interesting to see Ebert’s drift into cantankerousness the 2000s that I recall from the time.
September 7, 2024
ate 💋💋💋
January 17, 2012
This book is an interesting retrospective. It goes through Scorsese's films chronologically, with Ebert's original, unedited reviews when they were released and some additional essays reconsidering them with the benefit of time.
He doesn't change his mind by much. Ebert is a huge fan of Scorsese and has been from the start. He readily admits that their similar ages and Catholic backgrounds make Scorsese's work particularly resonant with him. In fact, in his introduction, Martin Scorsese mentions that Ebert is possibly more passionate about his first film than Scorsese himself.
After a while, the book starts to feel repetitive. The introductions summarize the reviews, which are mentioned in the reconsiderations, and then are referenced again in later reviews for other films, etc. I would have liked to see some pieces with broader context (e.g. comparing Scorsese to other directors, his best films to other classics) or even the voices of other contributors. Pauline Kael is mentioned several times as having a different opinion. Her perspective would have been a nice counterpoint to Ebert, who is pretty respectful even when reviewing the Scorsese movies he didn't like.
I wouldn't say that Martin Scorsese is one of my favorite directors, though I have seen a good number of his films. I think it's because he primarily interested in questions of masculine identity, and how they intersect anger, guilt, obsession, spirituality, criminality and even psychosis. It's an alien landscape to me.
He doesn't change his mind by much. Ebert is a huge fan of Scorsese and has been from the start. He readily admits that their similar ages and Catholic backgrounds make Scorsese's work particularly resonant with him. In fact, in his introduction, Martin Scorsese mentions that Ebert is possibly more passionate about his first film than Scorsese himself.
After a while, the book starts to feel repetitive. The introductions summarize the reviews, which are mentioned in the reconsiderations, and then are referenced again in later reviews for other films, etc. I would have liked to see some pieces with broader context (e.g. comparing Scorsese to other directors, his best films to other classics) or even the voices of other contributors. Pauline Kael is mentioned several times as having a different opinion. Her perspective would have been a nice counterpoint to Ebert, who is pretty respectful even when reviewing the Scorsese movies he didn't like.
I wouldn't say that Martin Scorsese is one of my favorite directors, though I have seen a good number of his films. I think it's because he primarily interested in questions of masculine identity, and how they intersect anger, guilt, obsession, spirituality, criminality and even psychosis. It's an alien landscape to me.
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August 28, 2020«از روزهاى اول تاكنون، اسكورسيزى هيچ وقت مرا از خود نااميد نكرده است. او هيچ فيلم بى ارزشى نساخته است.»( ايبرت ١٣٨٩: ١٣)
جهان پر از آدم هاى تنهاست، همين جا ميان ما؛ و شايد خود ما يكى از آن ها باشيم. با ديگران سوار مترو مى شويم، وقت مى گذرانيم، غذا مى خوريم و حتى كسى را داريم كه دوست مان مى دارد و ما او را مى پرستيم؛ اما هم چنان تنهاييم زيرا كسى نمى شناسدمان، نمى داند خود حقيقى ما چگونه است و هويت مان چيست. مارتين اسكورسيزى راوى زندگى آدم هاى تنهاست. او قهرمانانش را از دل توده ى به هم فشرده ى جامعه بيرون مى كشد و كارى مى كند كه شناخته شوند شايد همدلى ميليون ها نفر با اين قهرمانان افسارگسيخته بتواند انزواى درونى بسيارى ديگر را در جهان واقعى بكاهد. در خيابان هاى نيويورك به راننده تاكسى جوانى كه مى خواهد دختر نوجوانى را از دام شبكه ى فحشا نجات دهد جان مى دهد از او مظهرى براى مبارزه با شرارت مى سازد و نيكى را بر پليدى پيروز مى كند اما در گيرودار اين پيكار تنهايى جوان داستان با هدف مقدسش بيش از هر چيز آشكار است. «در راننده تاكسى، پن كردن دوربين از تلفن عمومى براى نگاه كردن به راهروى خالى نه يك ترفند سينمايى ، بلكه بازتابى ست از تنهايى درونى قهرمان»(ايبرت ١٣٨٩: ١٥) نمونه هاى ديگر اين ادعا قهرمان شاتر آيلند، رفتگان، هوانورد، گرگ وال استريت و ...هستند.
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بخشی از مرور کتاب «اسکورسیزی به روایت راجر ایبرت» که در وبسایت آوانگارد به قلم «نسرین ریاحیپور» منتشر شده است.
برای خواندن کامل مطلب به لینک زیر مراجعه فرمایید:
https://avangard.ir/article/410
جهان پر از آدم هاى تنهاست، همين جا ميان ما؛ و شايد خود ما يكى از آن ها باشيم. با ديگران سوار مترو مى شويم، وقت مى گذرانيم، غذا مى خوريم و حتى كسى را داريم كه دوست مان مى دارد و ما او را مى پرستيم؛ اما هم چنان تنهاييم زيرا كسى نمى شناسدمان، نمى داند خود حقيقى ما چگونه است و هويت مان چيست. مارتين اسكورسيزى راوى زندگى آدم هاى تنهاست. او قهرمانانش را از دل توده ى به هم فشرده ى جامعه بيرون مى كشد و كارى مى كند كه شناخته شوند شايد همدلى ميليون ها نفر با اين قهرمانان افسارگسيخته بتواند انزواى درونى بسيارى ديگر را در جهان واقعى بكاهد. در خيابان هاى نيويورك به راننده تاكسى جوانى كه مى خواهد دختر نوجوانى را از دام شبكه ى فحشا نجات دهد جان مى دهد از او مظهرى براى مبارزه با شرارت مى سازد و نيكى را بر پليدى پيروز مى كند اما در گيرودار اين پيكار تنهايى جوان داستان با هدف مقدسش بيش از هر چيز آشكار است. «در راننده تاكسى، پن كردن دوربين از تلفن عمومى براى نگاه كردن به راهروى خالى نه يك ترفند سينمايى ، بلكه بازتابى ست از تنهايى درونى قهرمان»(ايبرت ١٣٨٩: ١٥) نمونه هاى ديگر اين ادعا قهرمان شاتر آيلند، رفتگان، هوانورد، گرگ وال استريت و ...هستند.
***
بخشی از مرور کتاب «اسکورسیزی به روایت راجر ایبرت» که در وبسایت آوانگارد به قلم «نسرین ریاحیپور» منتشر شده است.
برای خواندن کامل مطلب به لینک زیر مراجعه فرمایید:
https://avangard.ir/article/410
January 27, 2014
As a college freshman, I attended the Ebert/Scorsese Wexner Center interview which acts as the centerpiece to this critical/career retrospective. This was over 15 years ago now, so much of the content felt absolutely fresh; but there were many ideas that I've since owned to a point I truly believed they were my own thoughts. When people claim to not like horror, musicals, melodramas, etc. I often try to explain that genre doesn't matter, what is done within the genre matters*. I now suspect this has roots in Ebert's line "A film is not about its subject; it's about how it's about its subject." The interview is fantastic, full of wisdom, trivia, humor and humility. The problem with the rest of the book is that it is a compilation rather than a whole. While the interview is a naturally flowing dialog, the rest of the book is a complied chronological overview. Ebert's reviews and articles on each film are given, but no editing has been done in the assembly. The same brilliant insights are offered over and over and over, until the depth of an observation is lost to familiarity. This may work better as a reference book where, after reading the essential interview, it is kept handy and picked up only after viewing a specific film.
*To be fair, I have a tendency to avoid War films.
*To be fair, I have a tendency to avoid War films.
October 17, 2015
I don't think you could expect less than perfection when perhaps the greatest film critic turns his gaze towards perhaps the greatest American film director. While the book contains little recent writing and is comprised primarily of archived reviews (the book was published prior to Ebert's passing), it's still a fascinating read and you can see Ebert's rightful enthusiasm for Scorsese from the beginning and watch it evolve. It also helps he adds reconsiderations every so often and, perhaps to further highlight his love of the masterpieces remains cool on a handful of Scorsese's films. There are no pulled punches, not that you need to pull many punches in this filmography.
Beyond giving a reason to rewatch great films ( After Hours, remains a personal favorite and Goodfellas remains as close to perfection any film can ever be), its a pleasure to listen to both men (author and subject) talk about film - both speak with so much joy, knowledge and accessibility that one could almost never read enough from either. If there was any fault with this book its that - I wanted more especially about how Scorsese's Catholic upbringing informed his work.
I could go on, but I've decided to rewatch Taxi Driver next.
Beyond giving a reason to rewatch great films ( After Hours, remains a personal favorite and Goodfellas remains as close to perfection any film can ever be), its a pleasure to listen to both men (author and subject) talk about film - both speak with so much joy, knowledge and accessibility that one could almost never read enough from either. If there was any fault with this book its that - I wanted more especially about how Scorsese's Catholic upbringing informed his work.
I could go on, but I've decided to rewatch Taxi Driver next.
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