DIRECTORS, 4 EDITION SCOLA " Monsieur le president ovvero un modo meno nevrotico di stare roni ( Macaroni) Cannes, in Bianco e Nero( Rome), July/September 1988 (The Family) Visuelle Stenogramme in Film und Fernsehen(Potsdam, Ger 1989 Splendor(The Last Movie any), January 1989 1990 Che ora e Interview with H. M. Fendel, in EPD Film(Frankfurt), August 1990 1991 Viaggio di Capitan Fracassa A Place for the Soul, in Chaplin(Stockholm), 1992 1993 Mario. Maria e Mario Un cineaste oublie: Antonio Pietrangeli, in Jeune Cinema( Paris) 1995 Romanzo di un Giovane Povero(Diary ofa Poor Young Man) May-June 1998 997 Segment titled"1943-1997 in Corti italiani(+ co-sc) On SCoLa: books- 998 La Cena(+ co-sc) 2000 Concorrenza sleale Gili. Jean. Le Cinema italien. Paris. 1978. Tassone. Aldo. Parla il Cinema Italiano: Volume /. Milan. 1979 Bondanella, Peter, Italian Neorealism to the Present. New York, 1983 Other films Liehm, Mira, Passion and Defiance: Film in Italy from 1942 to the Present. Los Angeles and London. 1984 1954 Un americano a Roma(Steno)(co-sc with Ruggero Maccari De Santi, Pier Marco, and Rossano Vittori, I film di ettore Due notti con Cleopatra(Two Nights with Cleopatra) Rome. 198 (co-sc with Maccari): Una Parigina a Roma(co-sc with Ellero. Roberto. Ettore Scola. Florence. 1988 1956 Lo scapolo(Pietrangeli)(co-sc with Maccari) On SCOLA: articles- 958 Nata di marzo(co-sc with Maccari) 1960 1I mattatore (Love and Larceny(co-sc with Maccari); Adua Gili, J, article in Ecran(Paris), April and November 1976. e le compagne ( Love a la Carte)(co-sc with Maccari): Haustrate, G, Un haut lieu de partage, in Cinema(Paris), August/ Fantasmi a Roma(Ghosts of Rome)(co-sc with Maccari): eptember 1976. La storia di un soldato"("The Soldier") episode of Carcassone, P, article in Cinematographe(Paris ), October 197 L'amore difficile(Erotica; Of Wayward Love)(Manfredi) Micheli, S, ""Ein besonderer Tag, in Film und Fernsehen( Potsdam (co-sc with Maccari) Germany), April 1978 1962 Anni ruggenti(Roaring Years)(Zampa)(co-sc with Maccari leperen, A. V,""Comedie makt realitet verdraaglijk, in Skoop ll sorpasso(The Easy Life)(Risi)(co-sc with Maccari) Netherlands). May 1978 1963 I mostri (The Monsters: Opiate 67: Fifteen from Rome)(Risi) Andersson, W., "" Brutti, sporchi, cattivi una giornata particolare, (co-sc with Maccari); La visita(co-sc with Maccari) in Filmrutan(Sweden), 1978 964 1 gaucho(The Gaucho)(Risi)(co-sc): Alta infedelta(High Gili, J, and others, *Une Journee Particuliere, in Avant-Scene Infidelity)(co-sc): Il magnifico couto(The Magnificent Cuckold)(co-sc) Zaoral, Z, article in Film a Doba(Czechoslovakia), October 1985 1965 lo la conoscevo bene(Pietrangeli)(co-sc) Made in italy lum, Doris, "Scola's World, in World Press Review(excerpted (oy)(co-sc) from Die Welt(Bonn), January 1986 966 Follie d'estate(co-sc) Bassan . R. and R. Lefevre. Macaroni. Wilder's Touch in revt 1967 Le dolci signore (Anyone Can Play)(Zampa)(co-sc): I du Cinema(Paris), February 1986 Macaroni Issue"of Avant-Scene du Cinema(Paris), April 1986 1971 Noi donne siamo fatte cosi(Women: So We Are Made)(Risi) De Santi, P. M, "Scola e Scarpelli dal disegno al him,"in Bianco (co-sc) 1988 Vacanza( Guillot)(pr); Mitico Gianluca(Lazotti)(pr):O Quenin, F. Navailh, "Le Choix d' Ettore: determinant, in Cinema samba( Constantin)(pr) (Paris), 4 May 1988 Bjorkman, S, ""Nostalgi och satir, in Chaplin(Stockholm), 1989 Anttila, E, ""Scola: Suuren perinteen haltja, in Filmihullu(Helsinki), Publications Cinemaction(Courbevoie), January 1992 Douin, J L, ""Pain, Amour, et Dialectique, in Telerama(Paris), 17 By SCOLA: articles- February 1993 e permettete parliamo di Scola, with J. A. Gili, in Ecran(Paris), 17 February 1993 November 1976 Degli-Esposti, Christina, in Screen(Oxford), Summer 1997 Interview with Aldo Tassone, in Image et Son(Paris), Novem- ber 1977 Interview with Dan Yakir, in Film Comment(New York), March/ April 1983. Revered more in the international film community than in Ameri- Interview with Mario Monicelli, in Chaplin(Stockholm), 1983 can cineaste circles. chameleon director Ettore Scola's name Interview with A Cornand and others, in Revue du Cinema(Paris), inexcusably absent from several English-language reference works February 1984 with Scola, one has to dig deep for the auteurist consistencies that
DIRECTORS, 4 SCOLA th EDITION 889 1984 Le Bal (+ co-sc) 1985 Maccheroni (Macaroni) 1987 Famiglia (The Family) 1989 Splendor (The Last Movie) 1990 Che ora e 1991 Viaggio di Capitan Fracassa 1993 Mario, Maria e Mario 1995 Romanzo di un Giovane Povero (Diary of a Poor Young Man) (+ sc) 1997 Segment titled ‘‘1943–1997’’ in Corti italiani (+ co-sc) 1998 La Cena (+ co-sc) 2000 Concorrenza sleale Other Films: 1954 Un americano a Roma (Steno) (co-sc with Ruggero Maccari); Due notti con Cleopatra (Two Nights with Cleopatra) (co-sc with Maccari); Una Parigina a Roma (co-sc with Maccari) 1956 Lo scapolo (Pietrangeli) (co-sc with Maccari) 1958 Nata di marzo (co-sc with Maccari) 1960 Il mattatore (Love and Larceny) (co-sc with Maccari); Adua e le compagne (Love à la Carte) (co-sc with Maccari); Fantasmi a Roma (Ghosts of Rome) (co-sc with Maccari); ‘‘La storia di un soldato’’ (‘‘The Soldier’’) episode of L’amore difficile (Erotica; Of Wayward Love) (Manfredi) (co-sc with Maccari) 1962 Anni ruggenti (Roaring Years) (Zampa) (co-sc with Maccari); Il sorpasso (The Easy Life) (Risi) (co-sc with Maccari) 1963 I mostri (The Monsters; Opiate ‘67; Fifteen from Rome) (Risi) (co-sc with Maccari); La visita (co-sc with Maccari) 1964 Il gaucho (The Gaucho) (Risi) (co-sc); Alta infedeltà (High Infidelity) (co-sc); Il magnifico cornuto (The Magnificent Cuckold) (co-sc) 1965 Io la conoscevo bene (Pietrangeli) (co-sc); Made in Italy (Loy) (co-sc) 1966 Follie d’estate (co-sc) 1967 Le dolci signore (Anyone Can Play) (Zampa) (co-sc); Il Profeta (sc) 1971 Noi donne siamo fatte cosi (Women: So We Are Made) (Risi) (co-sc) 1988 Vacanza (Guillot) (pr); Mitico Gianluca (Lazotti) (pr); O samba (Constantin) (pr) Publications By SCOLA: articles— ‘‘Se permettete parliamo di Scola,’’ with J. A. Gili, in Ecran (Paris), November 1976. Interview with Aldo Tassone, in Image et Son (Paris), November 1977. Interview with Dan Yakir, in Film Comment (New York), March/ April 1983. Interview with Mario Monicelli, in Chaplin (Stockholm), 1983. Interview with A. Cornand and others, in Revue du Cinéma (Paris), February 1984. ‘‘Monsieur le President ovvero un modo meno nevrotico di stare a Cannes,’’ in Bianco e Nero (Rome), July/September 1988. ‘‘Visuelle Stenogramme,’’ in Film und Fernsehen (Potsdam, Germany), January 1989. Interview with H. M. Fendel, in EPD Film (Frankfurt), August 1990. ‘‘A Place for the Soul,’’ in Chaplin (Stockholm), 1992. ‘‘Un cinéaste oublié: Antonio Pietrangeli,’’ in Jeune Cinéma (Paris), May-June 1998. On SCOLA: books— Gili, Jean, Le Cinema Italien, Paris, 1978. Tassone, Aldo, Parla il Cinema Italiano: Volume 1, Milan, 1979. Bondanella, Peter, Italian Neorealism to the Present, New York, 1983. Liehm, Mira, Passion and Defiance: Film in Italy from 1942 to the Present, Los Angeles and London, 1984. De Santi, Pier Marco, and Rossano Vittori, I film di Ettore Scola, Rome, 1987. Ellero, Roberto, Ettore Scola, Florence, 1988. On SCOLA: articles— Gili, J., article in Ecran (Paris), April and November 1976. Haustrate, G., ‘‘Un haut lieu de partage,’’ in Cinéma (Paris), August/ September 1976. Carcassone, P., article in Cinématographe (Paris), October 1977. Micheli, S., ‘‘Ein besonderer Tag,’’ in Film und Fernsehen (Potsdam, Germany), April 1978. Ieperen, A. V., ‘‘Comedie makt realitet verdraaglijk,’’ in Skoop (Netherlands), May 1978. Andersson, W., ‘‘Brutti, sporchi, cattivi & una giornata particolare,’’ in Filmrutan (Sweden), 1978. Gili, J., and others, ‘‘Une Journee Particuliere,’’ in Avant-Scene (Paris), 15 June 1979. Zaoral, Z., article in Film a Doba (Czechoslovakia), October 1985. Blum, Doris, ‘‘Scola’s World,’’ in World Press Review (excerpted from Die Welt) (Bonn), January 1986. Bassan, R., and R. Lefevre, ‘‘Macaroni: Wilder’s Touch,’’ in Revue du Cinéma (Paris), February 1986. ‘‘Macaroni Issue’’ of Avant-Scène du Cinéma (Paris), April 1986. De Santi, P. M., ‘‘Scola e Scarpelli dal disegno al film,’’ in Bianco e Nero (Rome), July/September 1986. Quenin, F. Navailh, ‘‘Le Choix d’Ettore: determinant,’’ in Cinéma (Paris), 4 May 1988. Bjorkman, S., ‘‘Nostalgi och satir,’’ in Chaplin (Stockholm), 1989. Anttila, E., ‘‘Scola: Suuren perinteen haltja,’’ in Filmihullu (Helsinki), June 1990. Cinémaction (Courbevoie), January 1992. Douin, J. L., ‘‘Pain, Amour, et Dialectique,’’ in Télérama (Paris), 17 February 1993. Douin, Jean-Luc, ‘‘Pain, amour et dialectique,’’ in Télérama (Paris), 17 February 1993. Degli-Esposti, Christina, in Screen (Oxford), Summer 1997. *** Revered more in the international film community than in American cineaste circles, chameleon director Ettore Scola’s name is inexcusably absent from several English-language reference works. With Scola, one has to dig deep for the auteurist consistencies that
SCORSESE DIRECTORS, 4 EDItION make less elusive artists easier to pigeonhole. While Scola's fascina- withstand the winds of war and upheaval, in the stylish Le Bal, the tion with political attitude and social change dictated by purely decades-shifting dancers merely reflect the changes transpiring out personal psychology never varies, he skips the light fantastic through side their social cocoon. Telescoping the French Revolution inside such specialties as historical epic(La Nuit de Varennes), the musical a few coaches, without portraying starving hordes or the king trying to escape the rabbles wrath, Scola's La Nuit de varennes forces the (The Family), and grand romance(Passione d'Amore). In each case, opportunity for rumination upon an upper class facing a climate he director gives established genres a uniquely invigorating spin. hostile to them. In a masterfully compact fashion, Scola continues to Critic Stephen Harvey compares Scola to Joseph Mankiewicz, and examine the past in order to interpret the present. Particularly in The that pithy summation of Scola as a Mankiewicz seasoned with Family, Scola avoids the epic sweep of traditional political caval oregano sheds light on how Scola screenwriting background cades in favor of an intimate revisionism of history (over fifty screenplays)informs his later career as a filmic maestro. In all Scola,'s films, the choreography of history steps in partner- Before directing his first feature in 1964. Scola was a writer and ship with his simpatico actors, gliding camerawork, and updated neo- illustrator for satirical magazines, a scriptor for radio, and a screenwriter realistic melancholy. Even taking his overcooked Hollywood debut for movies, mainly comedies, directed by Nanni Loy, Antonio Macaroni into consideration, and the failure of his last films to secure Pietrangeli, and Dino Risi, among others. Often constructed as star American releases, Scola's place in humanist film history is vehicles, his scripts contributed to the fame of such Italian mainstays unassailable. Unlike many screenwriters who turn director to ensure as Vittorio Gassman, Ugo Tognazzi, and Alberto Sordi. From this particular brand of Italian comedy-bungling incompetents mud- an unedited venue for their glorious dialogue, when Scola has dling through desperate situations, war's grotesqueries, lite's ironies- of working liberates ilm stars from their confining personas and dealing with their history and social environment. challenges moviegoers to experience the ambiguous passions of his Although Scola's directorial debut, Let's Talk about Women. characters. As in that embryonic Fatal Attraction for the nineteenth echoed his film-star showcase scripts, the bold A Drama of Jealousy century, Passione d'Amore(newly minted as a Sondheim musical he Pizza Triangle)established him as a quirky chronicler of amore Passion), Scola's relentless pursuit of beauty is an all-consuming as a no-win situation; the film is a sort of"Waiting for Cupid"where mission, one that makes this filmmaker sympathetic with misfits like every day is a luckless Valentines Day. C'eravamo tanto amati Fosca, whose emotional deprivation in Passione d'Amore is not tribute to Vittorio De Sica, is not only about the difficult, frustrating categorized as a negative, but as an occasion for greater sensitivity ost-World War Il years of three men whose class differences Scola revisits the impersonal past to give it a human face overwhelm the close bond they formed while fighting for the resist ance. It Is a a complex survey of thirty years of Italian cinema and illian Schiff, updated by Robert J. Pardi relationship to Italian history, photographed in various appropriate cinematic styles. La Terazza also dissects the ltaly-Cinema symbios as it scrutinizes the mores of Italian intellectuals, now middle-aged and no longer creative, forever failing to measure up to their he- SCORSESE, Martin roic past. In even his earliest directorial efforts, details of costume and Nationality: American. Born: Flushing, New York, 17 Ne milieu are integrated into Scola's cinema of ideas compellingly, 1942. Education: Cardinal Hayes High School, Bronx, 19 because inveterate sketch artist Scola is graced with a visual sensibil New York University, B.A., 1964, M.A., 1966. Family y that will reach its apotheosis in La Nuit de varennes and Passione 1)Laraine Brennan, 1965(divorced), one daughter; 2) Julia Cameron dAmore. In Riusciranno, set in modern Angola, an Italian bourgeois(divorced), one daughter; 3) Isabella Rossellini, 1979(divorced explores twentieth-century Africa in a nineteenth-century concept of 1983); 4)Barbara DeFina, 1985. Career: Film Instructor, NYU a safari outhit, while Brutti, sporchi e cattivi (literally"dirty, nasty 1968-70: directed TV commercials in England, and first feature and bad")satirizes the unavoidably disgusting appearance of the Who's That Knocking at My Door?, 1968; directed Boxcar Bertha for inhabitants of an impoverished village in a movie Scola had intended producer Roger Corman, 1972; directed The Act on Broadway, 1977 to introduce with comments by Pasolini director for TV of"Mirror, Mirror"for Amazing Stories, 1985 What is most striking about Scola's oeuvre, however, is his gift for directed promo video for Michael Jackson's"Bad, "1987. Awards compression. Restricting his observations deliberately to confined Best Director, National Society of Film Critics, and Palme d'Or ( for example, the coaches in La Nuit de Varennes, the microcosmic Cannes Festival, for Taxi Driver, 1976: Best Director, National dance hall in Le Bal, the family domicile that survives decades of Society of Film Critics, for Raging Bull, 1980: Best Director, Cannes the inner turmoil that informs their societal stances Nowhere is this Festival, for The Color of Money, 1986: Best Director, National conomy more apparent than in Una giornata particolare, which Society of Film Critics, for GoodFellas, 1990. demonstrates oppr in a super-organized society that devalues individuality. Moving deeper and deeper inside the confined setting. a fluid camera concentrates on the facade and interior of a workers Films as director dwelling on 6 May 1938, when Mussolini welcomes Hitler to Rom As the radio blares Il Duce's doctrinaire self-confidence, two trapped 1963 What's a Nice Girl like You Doing in a Place like This?(short) members of this society-a domestically repressed housewife and anti-fascist homosexual-meet by chance and share their humanity 964 It's Not Just You, Murray(short)(+ co-sc) for a few hours. Whereas in The Family, the family unit struggles to 1967 The Big Shave(short)(+ sc)
SCORSESE DIRECTORS, 4th EDITION 890 make less elusive artists easier to pigeonhole. While Scola’s fascination with political attitude and social change dictated by purely personal psychology never varies, he skips the light fantastic through such specialties as historical epic (La Nuit de Varennes), the musical (Le Bal), screwball comedy (A Drama of Jealousy), domestic drama (The Family), and grand romance (Passione d’Amore). In each case, the director gives established genres a uniquely invigorating spin. Critic Stephen Harvey compares Scola to Joseph Mankiewicz, and that pithy summation of Scola as a Mankiewicz seasoned with oregano sheds light on how Scola’s comic screenwriting background (over fifty screenplays) informs his later career as a filmic maestro. Before directing his first feature in 1964, Scola was a writer and illustrator for satirical magazines, a scriptor for radio, and a screenwriter for movies, mainly comedies, directed by Nanni Loy, Antonio Pietrangeli, and Dino Risi, among others. Often constructed as star vehicles, his scripts contributed to the fame of such Italian mainstays as Vittorio Gassman, Ugo Tognazzi, and Alberto Sordi. From this particular brand of Italian comedy—bungling incompetents muddling through desperate situations, war’s grotesqueries, life’s ironies— Scola’s work has progressed to complex studies of his countrymen dealing with their history and social environment. Although Scola’s directorial debut, Let’s Talk about Women, echoed his film-star showcase scripts, the bold A Drama of Jealousy (The Pizza Triangle) established him as a quirky chronicler of amore as a no-win situation; the film is a sort of ‘‘Waiting for Cupid’’ where every day is a luckless Valentine’s Day. C’eravamo tanto amati, a tribute to Vittorio De Sica, is not only about the difficult, frustrating post-World War II years of three men whose class differences overwhelm the close bond they formed while fighting for the Resistance. It is also a complex survey of thirty years of Italian cinema and its relationship to Italian history, photographed in various appropriate cinematic styles. La Terazza also dissects the Italy-Cinema symbiosis as it scrutinizes the mores of Italian intellectuals, now middle-aged and no longer creative, forever failing to measure up to their heroic past. In even his earliest directorial efforts, details of costume and milieu are integrated into Scola’s cinema of ideas compellingly, because inveterate sketch artist Scola is graced with a visual sensibility that will reach its apotheosis in La Nuit de Varennes and Passione d’Amore. In Riusciranno, set in modern Angola, an Italian bourgeois explores twentieth-century Africa in a nineteenth-century concept of a safari outfit, while Brutti, sporchi e cattivi (literally ‘‘dirty, nasty and bad’’) satirizes the unavoidably disgusting appearance of the inhabitants of an impoverished village in a movie Scola had intended to introduce with comments by Pasolini. What is most striking about Scola’s oeuvre, however, is his gift for compression. Restricting his observations deliberately to confined areas (for example, the coaches in La Nuit de Varennes, the microcosmic dance hall in Le Bal, the family domicile that survives decades of unrest in The Family), Scola forces his encaged protagonists to reveal the inner turmoil that informs their societal stances. Nowhere is this economy more apparent than in Una giornata particolare, which demonstrates oppression in a super-organized society that devalues individuality. Moving deeper and deeper inside the confined setting, a fluid camera concentrates on the facade and interior of a workers’ dwelling on 6 May 1938, when Mussolini welcomes Hitler to Rome. As the radio blares Il Duce’s doctrinaire self-confidence, two trapped members of this society—a domestically repressed housewife and an anti-fascist homosexual—meet by chance and share their humanity for a few hours. Whereas in The Family, the family unit struggles to withstand the winds of war and upheaval, in the stylish Le Bal, the decades-shifting dancers merely reflect the changes transpiring outside their social cocoon. Telescoping the French Revolution inside a few coaches, without portraying starving hordes or the king trying to escape the rabble’s wrath, Scola’s La Nuit de Varennes forces the opportunity for rumination upon an upper class facing a climate hostile to them. In a masterfully compact fashion, Scola continues to examine the past in order to interpret the present. Particularly in The Family, Scola avoids the epic sweep of traditional political cavalcades in favor of an intimate revisionism of history. In all Scola’s films, the choreography of history steps in partnership with his simpatico actors, gliding camerawork, and updated neorealistic melancholy. Even taking his overcooked Hollywood debut, Macaroni, into consideration, and the failure of his last films to secure American releases, Scola’s place in humanist film history is unassailable. Unlike many screenwriters who turn director to ensure an unedited venue for their glorious dialogue, when Scola has something to say he lets his mise-en-scene do the talking. His manner of working liberates film stars from their confining personas and challenges moviegoers to experience the ambiguous passions of his characters. As in that embryonic Fatal Attraction for the nineteenth century, Passione d’Amore (newly minted as a Sondheim musical, Passion), Scola’s relentless pursuit of beauty is an all-consuming mission, one that makes this filmmaker sympathetic with misfits like Fosca, whose emotional deprivation in Passione d’Amore is not categorized as a negative, but as an occasion for greater sensitivity. Scola revisits the impersonal past to give it a human face. —Lillian Schiff, updated by Robert J. Pardi SCORSESE, Martin Nationality: American. Born: Flushing, New York, 17 November 1942. Education: Cardinal Hayes High School, Bronx, 1956–60; New York University, B.A., 1964, M.A., 1966. Family: Married 1) Laraine Brennan, 1965 (divorced), one daughter; 2) Julia Cameron (divorced), one daughter; 3) Isabella Rossellini, 1979 (divorced 1983); 4) Barbara DeFina, 1985. Career: Film Instructor, NYU, 1968–70; directed TV commercials in England, and first feature, Who’s That Knocking at My Door?, 1968; directed Boxcar Bertha for producer Roger Corman, 1972; directed The Act on Broadway, 1977; director for TV of ‘‘Mirror, Mirror’’ for Amazing Stories, 1985; directed promo video for Michael Jackson’s ‘‘Bad,’’ 1987. Awards: Best Director, National Society of Film Critics, and Palme d’Or, Cannes Festival, for Taxi Driver, 1976; Best Director, National Society of Film Critics, for Raging Bull, 1980; Best Director, Cannes Festival, for The Color of Money, 1986; Best Director, National Society of Film Critics, for GoodFellas, 1990. Films as Director: 1963 What’s a Nice Girl like You Doing in a Place like This? (short) (+ sc) 1964 It’s Not Just You, Murray (short) (+ co-sc) 1967 The Big Shave (short) (+ sc)
DIRECTORS, 4 EDITION SCORSESE Martin Scorsese 1968 Who's That Knocking at My Door?(+ sc, role as gangster) 1997 Kundun 970 Street Scenes(doc) 999 Bringing out the Dead; ll Dolce Cinema(+sc) 1972 Boxcar Bertha(+ role as client of bordell 2001 The Gangs of New York 1973 Mean Streets(+cO-SC, role as Shorty the Hit Man) 2002 Dino 1974 Italian-American(doc)(+ co-sc) 1975 Alice Doesn't Live Here Anymore(+ role as customer at Mel and Ruby's) Other films p7 Taxi Driver(+ role as passenge New york New york 1965 Bring on the Dancing Girls(sc) 1979 American Boy(doc)(+ sc) 1967 / Call First(se 1970 Woodstock(ed, asst d) 980 Raging Bull 1976 Cannonball (Bartel)(role 1983 The King of Comedy (+ role as assistant) 1979 Hollywood's Wild Angel(Blackwood)(role); Medicine Ball 985 After Hours(+ role as disco patron) Caravan(assoc pr, post prod spvr) 986 The Color of Money 1981 Triple Play(role) 988 The Last Temptation of Christ 1982 Bonjour 1990 Dreams(Kurosawa)(role); The Grifters(Frears)(pr): Fear 1990 GoodFellas(+ sc); Man in Milan(doc) No Evil(Winkler)(role); The Crew(Antonioni)(exec pr); 1991 Cape Fear Mad Dog and Glory(McNaughton)(exec pr) 1993 Age of Innocence(+ sc, role) 1991 Guilty by Suspicion(role as Joe Lesser) 1995 Casino (+ sc) 1993 Jonas in the Desert(role) 891
DIRECTORS, 4 SCORSESE th EDITION 891 Martin Scorsese 1968 Who’s That Knocking at My Door? (+ sc, role as gangster) 1970 Street Scenes (doc) 1972 Boxcar Bertha (+ role as client of bordello) 1973 Mean Streets (+ co-sc, role as Shorty the Hit Man) 1974 Italian-American (doc) (+ co-sc) 1975 Alice Doesn’t Live Here Anymore (+ role as customer at Mel and Ruby’s) 1976 Taxi Driver (+ role as passenger) 1977 New York, New York 1978 The Last Waltz (doc) 1979 American Boy (doc) (+ sc) 1980 Raging Bull 1983 The King of Comedy (+ role as assistant) 1985 After Hours (+ role as disco patron) 1986 The Color of Money 1988 The Last Temptation of Christ 1989 ‘‘Life Lessons’’ episode in New York Stories 1990 GoodFellas (+ sc); Man in Milan (doc) 1991 Cape Fear 1993 Age of Innocence (+ sc, role) 1995 Casino (+ sc) 1997 Kundun 1999 Bringing out the Dead; Il Dolce Cinema (+ sc) 2001 The Gangs of New York 2002 Dino Other Films: 1965 Bring on the Dancing Girls (sc) 1967 I Call First (sc) 1970 Woodstock (ed, asst d) 1976 Cannonball (Bartel) (role) 1979 Hollywood’s Wild Angel (Blackwood) (role); Medicine Ball Caravan (assoc pr, post prod spvr) 1981 Triple Play (role) 1982 Bonjour Mr. Lewis (Benayoun) (role) 1990 Dreams (Kurosawa) (role); The Grifters (Frears) (pr); Fear No Evil (Winkler) (role); The Crew (Antonioni) (exec pr); Mad Dog and Glory (McNaughton) (exec pr) 1991 Guilty by Suspicion (role as Joe Lesser) 1993 Jonas in the Desert (role)
SCORSESE DIRECTORS, 4 EDItION 1994 Quiz Show(Redford)(role as sponsor); Naked in New York 'Ace in the Hole: Visualizing a vintage vegas an interview with Stephen Pizzello and Ron Magid, in American Cinematographer 1995 Search and Destroy(exec pr, role as accountant); Clockers Hollywood), November 1995 Lee)(pr) Martin Scorseses Testament: Bright Lights Big City, an interview with lan Christie and Pat Kirkham, in Sight and Sound (London) January 1996. Publications Interview, in the Special Issue of Cahiers du Cinema(Paris), March 1996 By SCORSESE: books- Interview with Jean-Pierre Coursodon and Michael Henry, in Positif (Paris), March 1996 Scorsese on Scorsese, edited by lan Christie and David Thompson,"Martin Scorsese's Calling: To Protect and Preserve Film Artists London. 1989 Rights, an interview with Ted Elrick, in DGA Magazine Los Goodfellas, with Nicholas Pileggi, London, 1990 Angeles), March-April 1996. The Age of Innocence: A Portrait of the Film Based on the Novel by "The Art of vision martin Scorsese's Kundun an interview with Edith Wharton, New York, 1993 Gavin Smith, in Film Comment(New York), January-Febru A Personal Journey with Martin Scorsese through American Movies, ary 1998 with Michael Henry Wilson, British Film Institute, 1997 An interview with Hubert Niogret and Michael Henry, in Positif By SCORSESE: articles- On SCORSESe: books- The Filming of Mean Streets, an interview with A C. Bobrow, in Filmmakers Newsletter(Ward Hill, Massachusetts), January 1974 Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Interview with M. Carducci, in Millimeter(New York), vol. 3 Coppola, Scorsese, Altman, Oxford, 1980; revised edition, 1988. 5.1975 Bliss. Michael, Martin Scorsese and Michael Cimino, Metuchen. Interview with M. Rosen, in Film Comment (New York), March/ New Jersey, 1986 Arnold. Frank, and others, Martin Scorsese, Munich. 1986 Martin Scorsese Seminar, in Dialogue on Film( Washington, D.C.) Cietat, Michel, Martin Scorsese, Paris, 1986. Scorsese on Taxi Driver and Herrmann an interview with C. Domecq, Jean-Philippe, Martin Scorsese: Un Reve Italo-american, Renens. Switzerland. 1986 Amata, in Focus on Film(London). Summer/Autumn 1976 Weiss, Ulli, Das Neue Hollywood: Francis Ford Coppola, Steven Interview with Jonathan Kaplan, in Film Comment(New York), July/ August 1977 Spielberg, Martin Scorsese, Munich, 1986 Interview with Richard Combs and Louise Sweet, in Sight and Sound Wood, Robin, Hollywood from Vietnam to Reagan, New York, 1986 London), Winter 1977/78. Weiss, Marian, Martin Scorsese: A Guide to References and Resources, Boston, 1987. Martin Scorsese's Guilty Pleasures, in Film Comment (Ne Kelly, Mary P, Martin Scorsese: A Journey. New York, 1991 York), September/October 1978 Interview with Paul Schrader, in Cahiers du Cinema(Paris), April 1982. Ehrenstein, David, The Scorsese Picture: The Art and Life of Martin Scorsese, New York, 1992 Interview with B. Krohn, in Cahiers du Cinema(paris), May 1986 Body and Blood, an interview with Richard Corliss, in Film Keyser, Lester J, Martin Scorsese, New York, 1992 Connelly, Marie K, Martin Scorsese: An Analysis of His Feature Criticism(Meadville, Pennsylvania), vol. 24, no. 5, 1988. Interview with Chris Hodenfield, in American Film (Washington Films. Jefferson, North Carolina, 1993 D. C. ), March 1989 Friedman, Lawrence S, The Cinema of Martin Scorsese, New "Entretien avec Martin Scorsese, with H. Niogret, in Positif( Paris) York, 1998 October 1990 Scorsese sur Scorsese. an interview with P. rollet and others. in On SCORSESE: articles- thiers du Cinema(Paris ), October 1990. Interview with A Decurtis, in Rolling Stone(New York), Novem- Gardner, P.""Martin Scorsese, in Action (Los Angeles), May/ ber1,1990 June 1975 Martin Scorsese: Gangster and Priest, 'an interview with A. M. Scorsese Section of Positif( Paris), April 1980 Bahiana, in Cinema Papers(Melbourne), December 1990 "Martin Scorsese vu par Michael Powell, " in Positif(Paris), April 1981 Interview with David Rensin, in Playboy( Chicago, Illinois), April 1991. Rickey, C, ""Marty, in American Film(Washington, D.C. Novem Interviews with Graham Fuller, in Interview(New York), November ber 1982 1991 and October 1993 Rafferty, T,"Martin Scorsese's Still Life, in Sight and Sound Martin Scorsese,s mortal Sins. an interview with Marcelle Cle (London). Summer 1983 ments, in Esquire(New York), November 1993 Braudy, Leo, The Sacraments of Genre: Coppola, De Palma, Interview with Gavin Smith, in Film Comment(New York). Novem- ber/December 1993 Bruce. B..Martin s ve Films, in Movie (London) A Personal Journey with Martin Scorsese through American Mov Winter 1986 w with Nicolas Saada, in Cahiers du Cinema Scorsese Issue"of Film Comment(New York), September/Octo-
SCORSESE DIRECTORS, 4th EDITION 892 1994 Quiz Show (Redford) (role as sponsor); Naked in New York (exec pr) 1995 Search and Destroy (exec pr, role as accountant); Clockers (Lee) (pr) Publications By SCORSESE: books— Scorsese on Scorsese, edited by Ian Christie and David Thompson, London, 1989. Goodfellas, with Nicholas Pileggi, London, 1990. The Age of Innocence: A Portrait of the Film Based on the Novel by Edith Wharton, New York, 1993. A Personal Journey with Martin Scorsese through American Movies, with Michael Henry Wilson, British Film Institute, 1997. By SCORSESE: articles— ‘‘The Filming of Mean Streets,’’ an interview with A.C. Bobrow, in Filmmakers Newsletter (Ward Hill, Massachusetts), January 1974. Interview with M. Carducci, in Millimeter (New York), vol. 3, no. 5, 1975. Interview with M. Rosen, in Film Comment (New York), March/ April 1975. Martin Scorsese Seminar, in Dialogue on Film (Washington, D.C.), April 1975. ‘‘Scorsese on Taxi Driver and Herrmann,’’ an interview with C. Amata, in Focus on Film (London), Summer/Autumn 1976. Interview with Jonathan Kaplan, in Film Comment (New York), July/ August 1977. Interview with Richard Combs and Louise Sweet, in Sight and Sound (London), Winter 1977/78. ‘‘Martin Scorsese’s Guilty Pleasures,’’ in Film Comment (New York), September/October 1978. Interview with Paul Schrader, in Cahiers du Cinéma (Paris), April 1982. Interview with B. Krohn, in Cahiers du Cinéma (Paris), May 1986. ‘‘Body and Blood,’’ an interview with Richard Corliss, in Film Criticism (Meadville, Pennsylvania), vol. 24, no. 5, 1988. Interview with Chris Hodenfield, in American Film (Washington, D.C.), March 1989. ‘‘Entretien avec Martin Scorsese,’’ with H. Niogret, in Positif (Paris), October 1990. ‘‘Scorsese sur Scorsese,’’ an interview with P. Rollet and others, in Cahiers du Cinéma (Paris), October 1990. Interview with A. Decurtis, in Rolling Stone (New York), November 1, 1990. ‘‘Martin Scorsese: Gangster and Priest,’’ an interview with A. M. Bahiana, in Cinema Papers (Melbourne), December 1990. Interview with David Rensin, in Playboy (Chicago, Illinois), April 1991. Interviews with Graham Fuller, in Interview (New York), November 1991 and October 1993. ‘‘Martin Scorsese’s Mortal Sins,’’ an interview with Marcelle Clements, in Esquire (New York), November 1993. Interview with Gavin Smith, in Film Comment (New York), November/December 1993. ‘‘A Personal Journey with Martin Scorsese through American Movies,’’ an interview with Nicolas Saada, in Cahiers du Cinéma (Paris), June 1995. ‘‘Ace in the Hole: Visualizing a Vintage Vegas,’’ an interview with Stephen Pizzello and Ron Magid, in American Cinematographer (Hollywood), November 1995. ‘‘Martin Scorsese’s Testament: Bright Lights Big City,’’ an interview with Ian Christie and Pat Kirkham, in Sight and Sound (London), January 1996. Interview, in the Special Issue of Cahiers du Cinéma (Paris), March 1996. Interview with Jean-Pierre Coursodon and Michael Henry, in Positif (Paris), March 1996. ‘‘Martin Scorsese’s Calling: To Protect and Preserve Film Artists’ Rights,’’ an interview with Ted Elrick, in DGA Magazine (Los Angeles), March-April 1996. ‘‘The Art of Vision: Martin Scorsese’s Kundun,’’ an interview with Gavin Smith, in Film Comment (New York), January-February 1998. An interview with Hubert Niogret and Michael Henry, in Positif (Paris), May 1998. On SCORSESE: books— Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, Oxford, 1980; revised edition, 1988. Bliss, Michael, Martin Scorsese and Michael Cimino, Metuchen, New Jersey, 1986. Arnold, Frank, and others, Martin Scorsese, Munich, 1986. Cietat, Michel, Martin Scorsese, Paris, 1986. Domecq, Jean-Philippe, Martin Scorsese: Un Rêve Italo-Américan, Renens, Switzerland, 1986. Weiss, Ulli, Das Neue Hollywood: Francis Ford Coppola, Steven Spielberg, Martin Scorsese, Munich, 1986. Wood, Robin, Hollywood from Vietnam to Reagan, New York, 1986. Weiss, Marian, Martin Scorsese: A Guide to References and Resources, Boston, 1987. Kelly, Mary P., Martin Scorsese: A Journey, New York, 1991. Ehrenstein, David, The Scorsese Picture: The Art and Life of Martin Scorsese, New York, 1992. Keyser, Lester J., Martin Scorsese, New York, 1992. Connelly, Marie K., Martin Scorsese: An Analysis of His Feature Films, Jefferson, North Carolina, 1993. Friedman, Lawrence S., The Cinema of Martin Scorsese, New York, 1998. On SCORSESE: articles— Gardner, P. ‘‘Martin Scorsese,’’ in Action (Los Angeles), May/ June 1975. Scorsese Section of Positif (Paris), April 1980. ‘‘Martin Scorsese vu par Michael Powell,’’ in Positif (Paris), April 1981. Rickey, C., ‘‘Marty,’’ in American Film (Washington, D.C.), November 1982. Rafferty, T., ‘‘Martin Scorsese’s Still Life,’’ in Sight and Sound (London), Summer 1983. Braudy, Leo, ‘‘The Sacraments of Genre: Coppola, De Palma, Scorsese,’’ in Film Quarterly (Berkeley), Spring 1986. Bruce, B., ‘‘Martin Scorsese: Five Films,’’ in Movie (London), Winter 1986. ‘‘Scorsese Issue’’ of Film Comment (New York), September/October 1988
DIRECTORS, 4 EDITION SCORSESE Jenkins, Steve, "From the Pit of Hell,"' in Monthly Film Bulletin oher19 New York); the violent public and private life of a far (London), December 1988 (Raging Bull); the crazy aspirations of an obsesse Williams, T., "The Last Temptation of Christ: A Fragmented Oedipal Comedy). In each case, th Trajectory," in CineAction (Toronto), Winter/Spring 1990. T to a point where itre Morgan, D., "The Thriller in Scorsese," in Millimeter (New York ), tensions of ou October 1991. Biskind, Peter, "Slouching toward Hollywood, in Premiere (New works relate York), November 1991 l Stanley, A., "From the Mean Streets to Charm School" in New York B Times, 28 June 1992. Murphy, Kathleen, "Artist of the Beautiful," in Film Comment (New their starting Schrader, Paul, "Paul Schrader on Martin Scorsese," in New Yorker, Thu 21 March 1994. fraan,. "Martin Scorsese's New York Story: An 1860s Tow n House for the Age of Innocence Director,"in Architectural Digest (Los Angeles), Apri il1994 Durgnat, Raymond, "Martin Scorsese: Between God and the st Goodfellas,"' in Sight and Sound (London), June 1995. Librach, Ronald ture/Film Quarterly (Salisbury), April 1996. Blake, Richard A.,"Rec of Martin Scor (Washington, D.C.), Spring 1996. Sherlock, James, "Why Thelma Loves Temptat o the woman he comes nothing less than a statement s, for men and women alike, of the th vicissitudes in the c in our culture. 893
DIRECTORS, 4 SCORSESE th EDITION 893 Jenkins, Steve, ‘‘From the Pit of Hell,’’ in Monthly Film Bulletin (London), December 1988. Williams, T., ‘‘The Last Temptation of Christ: A Fragmented Oedipal Trajectory,’’ in CineAction (Toronto), Winter/Spring 1990. Morgan, D., ‘‘The Thriller in Scorsese,’’ in Millimeter (New York), October 1991. Biskind, Peter, ‘‘Slouching toward Hollywood,’’ in Premiere (New York), November 1991. Stanley, A., ‘‘From the Mean Streets to Charm School,’’ in New York Times, 28 June 1992. Murphy, Kathleen, ‘‘Artist of the Beautiful,’’ in Film Comment (New York), November/December 1993. Schrader, Paul, ‘‘Paul Schrader on Martin Scorsese,’’ in New Yorker, 21 March 1994. Thurman, J., ‘‘Martin Scorsese’s New York Story: An 1860s Town House for the Age of Innocence Director,’’ in Architectural Digest (Los Angeles), April 1994. Durgnat, Raymond, ‘‘Martin Scorsese: Between God and the Goodfellas,’’ in Sight and Sound (London), June 1995. Librach, Ronald S., ‘‘A Nice Little Irony: Life Lessons,’’ in Literature/Film Quarterly (Salisbury), April 1996. Blake, Richard A., ‘‘Redeemed in Blood: The Sacramental Universe of Martin Scorsese,’’ in Journal of Popular Film and Television (Washington, D.C.), Spring 1996. Sherlock, James, ‘‘Why Thelma Loves Martin. . . and Michael,’’ in Cinema Papers (Fitzroy), December 1996. *** At present, with regard to the Hollywood cinema of the last fifteen years, two directors appear to stand head-and-shoulders above the rest, and it is possible to make large claims for their work on both formal and thematic grounds: Scorsese and Cimino. The work of each is strongly rooted in the American and Hollywood past, yet is at the same time audacious and innovative. Cimino’s work can be read as at once the culmination of the Ford/Hawks tradition and a radical rethinking of its premises; Scorsese’s involves an equally drastic rethinking of the Hollywood genres, either combining them in such a way as to foreground their contradictions (western and horror film in Taxi Driver) or disconcertingly reversing the expectations they traditionally arouse (the musical in New York, New York, the boxing movie and ‘‘biopic’’ in Raging Bull). Both directors have further disconcerted audiences and critics alike in their radical deviations from the principles of classical narrative: hence Heaven’s Gate is received by the American critical establishment with blank incomprehension and self-defensive ridicule, while Scorsese has been accused (by Andrew Sarris, among others) of lacking a sense of structure. Hollywood films are not expected to be innovative, difficult, and challenging, and must suffer the consequences of authentic originality (as opposed to the latest in fashionable chic that often passes for it). The Cimino/Scorsese parallel ends at this shared tension between tradition and innovation. While Heaven’s Gate can be read as the answer to (and equal of) Birth of a Nation, Scorsese has never ventured into the vast fresco of American epic, preferring to explore relatively small, limited subjects (with the exception of The Last Temptation of Christ), the wider significance of the films arising from the implications those subjects are made to reveal. He starts always from the concrete and specific—a character, a relationship: the vicissitudes in the careers and love-life of two musicians (New York, New York); the violent public and private life of a famous boxer (Raging Bull); the crazy aspirations of an obsessed nonentity (King of Comedy). In each case, the subject is remorselessly followed through to a point where it reveals and dramatizes the fundamental ideological tensions of our culture. His early works are divided between self-confessedly personal works related to his own Italian-American background (Who’s That Knocking at My Door?, Mean Streets) and genre movies (Boxcar Bertha, Alice Doesn’t Live Here Anymore). The distinction was never absolute, and the later films effectively collapse it, tending to take as their starting point not only a specific character but a specific star: Robert De Niro. The Scorsese/De Niro relationship has proved one of the most fruitful director/star collaborations in the history of the cinema; its ramifications are extremely complex. De Niro’s star image is central to this, poised as it is on the borderline between ‘‘star’’ and ‘‘actor’’—the charismatic personality, the self-effacing impersonator of diverse characters. It is this ambiguity in the De Niro star persona that makes possible the ambiguity in the actor/director relationship: the degree to which Scorsese identifies with the characters De Niro plays, versus the degree to which he distances himself from them. It is this tension (communicated very directly to the spectator) between identification and repudiation that gives the films their uniquely disturbing quality. Indeed, Scorsese is perhaps the only Hollywood director of consequence who has succeeded in sustaining the radical critique of American culture that developed in the 1970s through the Reagan era of retrenchment and recuperation. Scorsese probes the tensions within and between individuals until they reveal their fundamental, cultural nature. Few films have chronicled so painfully and abrasively as New York, New York the impossibility of successful heterosexual relations within a culture built upon sexual inequality. The conflicts arising out of the man’s constant need for self-assertion and domination and the woman’s bewildered alterations between rebellion and complexity are—owing to the peculiarities of the director/star/character/spectator relationship—simultaneously experienced and analysed. Raging Bull goes much further in penetrating to the root causes of masculine aggression and violence, linking socially approved violence in the ring to socially disapproved violence outside it, violence against men to violence against women. It carries to its extreme that reversal of generic expectations so characteristic of Scorsese’s work: a boxing melodrama/success story, it is the ultimate anti-Rocky; a filmed biography of a person still living, it flouts every unwritten rule of veneration for the protagonist, celebration of his achievements, triumph after tribulation, etc. Ostensibly an account of the life of Jake LaMotta, it amounts to a veritable case history of a paranoiac, and can perhaps only be fully understood through Freud. Most directly relevant to the film is Freud’s assertion that every case of paranoia, without exception, has its roots in a repressed homosexual impulse; that the primary homosexual love-objects are likely to be father and brothers; that there are four ‘‘principle forms’’ of paranoia, each of which amounts to a denial of homosexual attraction (see the analysis of the Schreber case and its postscript). Raging Bull exempli- fies all of this with startling (if perhaps largely inadvertent) thoroughness: all four of the ‘‘principle forms’’ are enacted in Scorsese’s presentation of LaMotta, especially significant being the paranoid’s projection of his repressed desires for men onto the woman he ostensibly loves. The film becomes nothing less than a statement about the disastrous consequences, for men and women alike, of the repression of bisexuality in our culture