It is particularly Scorsese's use of Pesci which seems to have annoyed critics as the actor plays a similar role in both films and it was his GoodFellas performance that won Pesci an Academy Award. ![]() (1) On the one hand, GoodFellas and Casino do have a lot in common: a) in addition to dealing with organized crime and having narratives which span decades, both films were adapted from fact-based books by Nicholas Pileggi, who, with Scorsese, co-authored the screenplays b) the stylistic devices found in the two films include voiceover narration, freeze frames, flashbacks, rapid dolly moves c) the films employ Scorsese's longstanding editor Thelma Schoonmaker, and feature two of his regular actors, Robert De Niro and Joe Pesci. The former was given a predominantly polite but cool reception because it wasn't the kind of project, a period piece and a melodrama, associated with Scorsese the director of Mean Streets, Taxi Driver, Raging Bull and GoodFellas with the last, Scorsese was taken to task for supposedly retooling one of his former successes. But the claim, the basis of auteurist criticism, can have its drawbacks and particularly so when it leads to the kind of critical thinking that has greeted his two most recent films, The Age of Innocence (1993) and Casino (1995). ![]() ![]() It is inconceivable that any critic who has seen a number of Martin Scorsese's films would reject the claim that the director is a stylist and that his work displays thematic consistency.
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