Scorsese films plus#
Marty not only fused together highbrow and low-born culture in his films, but he did it with a far lighter touch of pretension than many of his generational peers, plus an under-appreciated but devastating deadpan wit, which is why, I suspect, so many of my fellow film nerds responded so strongly to Scorsese’s blanket dismissal of the Marvel movies, since we saw Marty as one of us.Įven as a fan of the Marvel movies, I’ll freely concede that Scorsese raised some valid points in his recent remarks to the press about how formulaic those films can be, which makes it ironic that so much of “The Irishman,” an effortlessly engaging and flawlessly assembled film on par with Sergio Leone’s 1984 “Once Upon a Time in America,” nonetheless plays out like a greatest hits album of Marty’s recurring tropes as a filmmaker.Ī diegetic soundtrack made up mostly of pop chart hits from the 1950s, ‘60s and ‘70s? Marty’s got you covered.
I’ve always had a soft spot for Marty, who managed early on to synthesize some of the most appealing aspects of his equally famous film school peers, by capturing the epic scope and operatic profundity of Francis Ford Coppola’s historically significant narratives, and wedding them to the satisfyingly squalid, viscerally grimy, gutter-level antics of Brian De Palma’s glorified slasher flicks. Kirk is without question that Martin Scorsese is one of America’s greatest living film directors, so I hope he won’t take it as too much of a backhanded compliment when I say that “The Irishman” is not the best film that Martin Scorsese has ever made.īut it is absolutely the most Martin Scorsese film that Martin Scorsese has ever made.
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