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The Films of Martin Scorsese: Gangsters, Greed, and Guilt
Few mainstream filmmakers have as pronounced a disregard for the supposed rules of filmmaking as Martin Scorsese. His inventiveness displays a reaction against the "right" way to make a movie, frequently eschewing traditional cinematic language in favor of something flashy, unexpected and contrary to the way "proper" films are done. Yet despite this, he's become one of the most influential directors of the last fifty years, a critical darling (though rarely a box office titan), and a fan favorite.
On the surface, Scorsese's work is defined by shocking violence and rampant profanity. These are often loud, brash films that appear to glorify the worst kinds of people. He makes heroes of mobsters, thugs, con men, and murderers. Yet dig deeper and you find the true beating heart of his oeuvre: guilt, collapse, self-destruction, spiritual turmoil, and the complicated hypocrisies of faith, among other themes that are a constant in his work.
In this book, San Juan guides readers through the crooks, the mobsters, the loners, the moguls, and the nobodies of Scorsese's 26-movie filmography. The Films of Martin Scorsese examines the techniques that have made him one of the most innovative directors in history: needle-drop soundtracks, outbursts of violence, daring camera work, and more. The book further looks at the themes that are the engine driving all of this, including themes of self-sabotage, alienation, faith, and guilt.
What is Martin Scorsese trying to tell us through his work? Can we learn something about the human conditions via works like Taxi Driver, Raging Bull, GoodFellas, and The Irishman?
With that goal in mind, between these covers you'll find fodder for discussion, dissection, and debate, all of it driven by insightful-yet-approachable analysis of Martin Scorsese's entire filmography, from 1967s Who's That Knocking At My Door? to 2019's The Irishman, as well as carefully chosen excerpts from five decades worth of Martin Scorsese interviews and rare behind-the-scenes photos.--Zaki Hasan, author & Podcaster, Professor of Communication and Media Studies, San Jose State College
On the surface, Scorsese's work is defined by shocking violence and rampant profanity. These are often loud, brash films that appear to glorify the worst kinds of people. He makes heroes of mobsters, thugs, con men, and murderers. Yet dig deeper and you find the true beating heart of his oeuvre: guilt, collapse, self-destruction, spiritual turmoil, and the complicated hypocrisies of faith, among other themes that are a constant in his work.
In this book, San Juan guides readers through the crooks, the mobsters, the loners, the moguls, and the nobodies of Scorsese's 26-movie filmography. The Films of Martin Scorsese examines the techniques that have made him one of the most innovative directors in history: needle-drop soundtracks, outbursts of violence, daring camera work, and more. The book further looks at the themes that are the engine driving all of this, including themes of self-sabotage, alienation, faith, and guilt.
What is Martin Scorsese trying to tell us through his work? Can we learn something about the human conditions via works like Taxi Driver, Raging Bull, GoodFellas, and The Irishman?
With that goal in mind, between these covers you'll find fodder for discussion, dissection, and debate, all of it driven by insightful-yet-approachable analysis of Martin Scorsese's entire filmography, from 1967s Who's That Knocking At My Door? to 2019's The Irishman, as well as carefully chosen excerpts from five decades worth of Martin Scorsese interviews and rare behind-the-scenes photos.--Zaki Hasan, author & Podcaster, Professor of Communication and Media Studies, San Jose State College
- GenresFilmNonfiction
244 pages, Kindle Edition
First published September 10, 2020
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July 15, 2020
The Films of Martin Scorsese: Gangsters, Greed, and Guilt by Eric San Juan presents a coherent understanding of Scorsese's oeuvre by looking closely at each film in chronological order.
If you have studied film or are a big Scorsese fan you may not learn a lot of new "facts" that you didn't already know. But that isn't the point of the book, it is a deeper look at what makes a Scorsese film a Scorsese film. Not just the surface elements that fall neatly under the heading of technique, though they certainly are important aspects. San Juan looks closely at relationships in the films, in Scorsese's life, and between films. This framing or contextualizing of what we have all seen and read about numerous times is the real strength of this book.
While this looks at the films at a deeper level than many film books, it is not an academic book. Some of the ideas would be at home in academia but this book is far more accessible than many academic books on film and film history. Each chapter is more like listening to a friend who loves the film being discussed tell you what they get out of it. There isn't any claim to any "correct" reading of the films but the case is made for each as a viable reading.
While this is not an academic book, I would have considered using it, or chapters from it, in courses I taught that would have included one of the films. Not because I think it is definitive but because it opens space for discussion and further thought. As a book for casual reading, it serves that same purpose, you will watch some of these films again with a slightly different perspective, maybe with a different understanding or appreciation. If you're like me, you will choose a few in particular to watch almost immediately so you can consider what San Juan is arguing as well as how you have understood the film. For me, the first three re-watches are Cape Fear, Alice Doesn't Live Here Any More, and Shutter Island. Results may vary.
I recommend this to any film history buff as well as anyone who likes to think about what a film might be saying in addition to the surface story or meaning. Scorsese fans, of course, will find a lot to appreciate here. The writing and ideas are accessible to any reader but is also deep enough for students of film to benefit.
Reviewed from a copy made available by the publisher via NetGalley.
If you have studied film or are a big Scorsese fan you may not learn a lot of new "facts" that you didn't already know. But that isn't the point of the book, it is a deeper look at what makes a Scorsese film a Scorsese film. Not just the surface elements that fall neatly under the heading of technique, though they certainly are important aspects. San Juan looks closely at relationships in the films, in Scorsese's life, and between films. This framing or contextualizing of what we have all seen and read about numerous times is the real strength of this book.
While this looks at the films at a deeper level than many film books, it is not an academic book. Some of the ideas would be at home in academia but this book is far more accessible than many academic books on film and film history. Each chapter is more like listening to a friend who loves the film being discussed tell you what they get out of it. There isn't any claim to any "correct" reading of the films but the case is made for each as a viable reading.
While this is not an academic book, I would have considered using it, or chapters from it, in courses I taught that would have included one of the films. Not because I think it is definitive but because it opens space for discussion and further thought. As a book for casual reading, it serves that same purpose, you will watch some of these films again with a slightly different perspective, maybe with a different understanding or appreciation. If you're like me, you will choose a few in particular to watch almost immediately so you can consider what San Juan is arguing as well as how you have understood the film. For me, the first three re-watches are Cape Fear, Alice Doesn't Live Here Any More, and Shutter Island. Results may vary.
I recommend this to any film history buff as well as anyone who likes to think about what a film might be saying in addition to the surface story or meaning. Scorsese fans, of course, will find a lot to appreciate here. The writing and ideas are accessible to any reader but is also deep enough for students of film to benefit.
Reviewed from a copy made available by the publisher via NetGalley.
Displaying 1 of 1 review