Based on the book Wiseguy by Nicholas Pileggi, Goodfellas is the story of mob associate Henry Hill who is part of a crew as they would rise high and later fall low once he gets himself in trouble and become a target by his own crew. Directed by Martin Scorsese and screenplay by Scorsese and Pileggi, the film is a dramatization of Hill’s life as he lived a life of luxury as part of the mob while watching his world fall apart through his own faults and everything else as he is portrayed by Ray Liotta. Also starring Robert de Niro, Joe Pesci, Lorraine Bracco, and Paul Sorvino. Goodfellas is an exhilarating and wild film from Martin Scorsese.
Spanning nearly three decades, the film follows the life of a young man who becomes an associate for a mob boss doing small things and later rising up the ranks as a wise guy where he gets involved with a lot of things and live a nice life only to fall big through his own faults and other activities. It’s a film with a simple rise-and-fall scenario from screenwriters Martin Scorsese and Nicholas Pileggi where Henry Hill was this teenager who is fascinated by the local mob in his neighborhood as he offers to help them and manages to win their respect and trust. The script is largely told from Hill’s perspective as he worked for the mob boss Paulie Cicero (Paul Sorvino) and later befriends a truck hijacker in Jimmy Conway (Robert de Niro) and a fellow juvenile delinquent in Tommy DeVito (Joe Pesci). The first act is about Hill’s young life as he would befriend Cicero and become part of his crew doing small favors and such where he would meet Conway and DeVito. It is also the moment he meets Karen (Lorraine Bracco) would become his wife as she would also have some voice-over narration as it relates to her experience being the wife of a wise guy.
The film’s second act begins in 1970 as it relates to a violent encounter with the Gambino family member Billy Batts (Frank Vincent) over an insult he made towards DeVito. It would lead to all sorts of things relating to Hill’s own affairs with other women, a brief incarceration in prison during the 70s, the Lufthansa vault heist that was organized by Morrie Kessler (Chuck Low), and drugs. It all play into this lifestyle of getting whatever you want and be given special privileges that allow them to get away with what they want but also manage to get some things in prison that would make their stay more comfortable. The second act both begins and ends with a major death as it would lead to this third act that is the fall of Hill and his friends. Notably as it play into the severity of Hill’s drug problems and other aspects in the business that would eventually get him in trouble.
Martin Scorsese’s direction definitely has a flair for style from the opening credits sequence designed by Saul Bass as well as the way the film opens with Hill, Conway, and DeVito driving onto a highway as they hear something bumping in the trunk as it would relate to an incident during the film’s second act. Much of the film is shot on various locations in New York, New Jersey, and parts of Long Island in New York as it play into this culture of Italian-Americans, Irish-Americans, and Jewish-Italian Americans who are part of this world that is working-class but these wise guys live a life that can get them whatever they want. There are some wide shots that Scorsese would use to get a scope of the locations yet much of his direction emphasizes on close-ups and medium shots. Even as Scorsese would use these intricate tracking shots to play into some locations such as a nightclub along with some stylistic shots that play into the violence and drama. Scorsese also infuse elements of humor as it relates to DeVito and the stories he tells as well as his own violent outbursts after he shoots someone who wouldn’t take shit from him.
The Billy Batts scene is one filled with dark humor and some confrontational dialogue that would be followed by a comical moment at the home of DeVito’s mother (Catherine Scorsese) as she, her son, Conway, and Hill eat breakfast as it play into Scorsese’s offbeat tone as Scorsese would focus some attention on the car knowing something is up. The scenes of decadence and excess are heightened that includes this fiery sequence early in the third act where Hill’s cocaine addiction finally catches up with him as he believes someone is watching him with shots of helicopters and all sorts of things. Scorsese also play into this sense of drama that looms during the third act as well as some moments late in the second act that relates to Lufthansa and the players involved where there is a melancholia that would be prominent into its third act and what happens in the end. Overall, Scorsese creates a riveting yet outrageous film about the life of a mob hood and the craziness he endures as part of a crew.
Cinematographer Michael Ballhaus does brilliant work with the film’s cinematography where Ballhaus maintains a straightforward look for many of the daytime exterior scenes along with some stylish lights for some scenes set at night. Editor Thelma Schoonmaker does incredible work with the editing with its stylish usage of freeze-frames, slow-motion shots, jump-cuts, and other stylistic editing techniques as it help play into the action and suspense as it is one of the film’s major highlights. Production designer Kristi Zea, with set decorator Leslie Bloom and art director Maher Ahmad, does excellent work with the look of the homes that Hill lived in as well as the homes of friends and the places he, Conway, and DeVito go to as well as the prison cell he and Cicero shared.
Costume designer Richard Bruno does fantastic work with the costumes from the stylish suits the men wear as well as the clothes and fur coats the women wear to play into the evolving period of the times. Sound editor Skip Lievsay does amazing work with the sound in the way sound effects are presented as well as gunfire, the atmosphere of a club or a restaurant, and other textures as it play into the suspense and drama as it’s a highlight of the film. The film’s tremendous music soundtrack is a highlight of the film as it help play into the evolving period of the times as well as some of the craziness that occurs as it features contributions from Tony Bennett, the Moonglows, the Cadillacs, Billy Ward and His Dominoes, the Chantels, the Harptones, Otis Williams and the Charms, Mina, Johnny Mathis, Aretha Franklin, Bobby Darin, the Rolling Stones, Harry Nilsson, Derek and the Dominos, Muddy Waters, Cream, the Shangri-Las, Bobby Vinton, Betty Curtis, the Crystals, Dean Martin, Donovan, the Who, George Harrison, and Sid Vicious.
The casting by Ellen Lewis is great as it feature some notable small roles and appearances from Tony Sirico as a member of Cicero’s gang in Tony Stacks, Michael Imperioli as a young man handing out drinks during a poker game in Spider, Mike Starr as a trucker friend of Conway in Frenchy, Frank Sivero as an associate of Conway in Frankie Carbone, Samuel L. Jackson as a musician/trucker named Stacks who was part of the Lufthansa heist, Catherine Scorsese as DeVito’s mother, Charles Scorsese as one of Cicero’s cellmates in Vinnie who likes to put a lot of onions in the tomato sauce, Gina Mastrogiacomo as one of Hill’s mistresses in Janice Rossi, Welker White as the Hills’ babysitter Lois who also does drug deal for them, Debi Mazar as another of Hill’s mistress in Sandy who would help him with the cocaine, Illeana Douglas as a mob girlfriend in Rosie, Joseph D’Onofrio as the young Tommy, Christopher Sirrone as the young Henry, Margo Winkler as Morrie’s wife, Vincent Pastore as a coatrack man, Kevin Corrigan as Henry’s younger brother Michael, and Chuck Low as the salesman Morrie Kessler who helps organize the Lufthansa heist.
Frank Vincent is brilliant in his one-scene performance as Billy Batts as a revered mob figure who insults DeVito at a bar on the night he returns to Jersey as he is just trying to have fun and relax. Paul Sorvino is fantastic as Paulie Cicero as a mob boss who is trying to run his crew as he also ensures that Hill gets his shit together while they also share a prison cell together while disapproving about Hill’s fascination with drugs. Lorraine Bracco is excellent as Karen as Hill’s wife who meets him at a blind date and then confronts him when he stands her up for a second date as she becomes bewildered by the mob culture yet also enjoys the lifestyle and its perks only to realize the dangers of the lifestyle that includes a terrible cocaine addiction.
Joe Pesci is marvelous as Tommy DeVito as a fast-talking, confrontational mob figure who says a lot of shit but has a short fuse where he can get really violent as it’s Pesci being extremely funny but also scary at times as it’s really one of his most iconic performances. Robert de Niro is remarkable as Jimmy Conway as a mob hood who works for Cicero yet is someone who can get things done and make more money while running small operations including the Lufthansa heist as he helped run that heist and ensure that no one gets way over their heads with the success of the heist. Finally, there’s Ray Liotta in a phenomenal performance as Henry Hill as a Jewish-Italian man who becomes fascinated by the world of the wise guys as a kid as he later becomes a man that gets things done but never kills anyone yet doesn’t mind giving someone beatings or live a good life only to endure a terrible cocaine addiction as it’s Liotta displaying a ferocity and vulnerability as a man who puts himself and his family in great danger only to realize what he must do to save himself but a terrible price.
Goodfellas is a magnificent film from Martin Scorsese. Featuring a great ensemble cast, a compelling rise-and-fall story, striking visuals, top-notch editing, and gripping music soundtrack. It's a film that explores the life of a mob hood trying to live a lifestyle of excess and vast riches only to get caught up in some bad shit as it’s told in an offbeat yet exhilarating fashion. In the end, Goodfellas is an outstanding film from Martin Scorsese.
Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – Boxcar Bertha - (Mean Streets) – Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Cape Fear (1991 film) - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) – The Silence (2016 film) - (The Irishman (2019 film)) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2019
Based on the novel by Vincent Patrick, The Pope of Greenwich Village is the story of two cousins who decide to go into crime to help fund their dreams of owning and running a restaurant. Directed by Stuart Rosenberg and screenplay by Vincent Patrick, the film is an unconventional crime-drama that follows two men trying to do whatever they can to get money as well as go head-on into the world of crime. Starring Mickey Rourke, Eric Roberts, Darryl Hannah, Geraldine Page, Kenneth McMillan, Frank Vincent, M. Emmet Walsh, and Burt Young. The Pope of Greenwich Village is a witty and exhilarating film from Stuart Rosenberg.
The film follows two Italian-American cousins working and living at the Greenwich Village area of New York City as they dream of being successful and run their own restaurant where they go into the world to crime to fund that dream. It’s a film that is about two guys trying to do what they can yet they deal with so much adversity as well as the fact that one of them is a total screw-up and the other is cautious with a lot to deal with. Vincent Patrick’s screenplay explores the unique dynamic between Charlie (Mickey Rourke) and Paulie (Eric Roberts) as these two cousins who both want to succeed yet Charlie is someone that is trying to work hard and do things the right way. Paulie is a guy that likes to scheme and often put Charlie in trouble as the film begins with Charlie working as a maître d’ at a restaurant where Paulie is the waiter who gets Charlie in trouble and they both lose their job.
Paulie gets a tip about money stashed in a safe as he coerces Charlie to be involved as they’re joined by a locksmith/clock repairman in Barney (Kenneth McMillan) as their safecracker. The job succeeds except for an encounter with an undercover policeman (Jack Kehoe) that went wrong as Charlie then learns who the money belongs to which causes even more trouble. Adding to Charlie’s problems is that he is paying alimony to his ex-wife as they have a son and his girlfriend Diane (Daryl Hannah) is pregnant with his child as he is trying to do good things for her. Still, Charlie has a loyalty to Paulie which irks Diane since she knows that Paulie is an idiot and always find a way to mess things up. Even as Paulie would be confronted by hoods who work for the mobster Bed Bug Eddie (Burt Young) including Paulie’s Uncle Pete (Tony Musante) forcing Charlie to settle the matter.
Stuart Rosenberg’s direction does have bits of style yet much of it is straightforward as it is shot on location in New York City and in the Greenwich Village area with some of it shot in New Jersey. While Rosenberg would use a lot of wide shots that would create some unique compositions of the characters on a roof with certain city landmarks in the background. Much of the compositions Rosenberg creates are intimate with its close-ups and medium shots that includes a key meeting between detectives and the mother of the dead undercover officer as it’s a very chilling moment due to what happened to the undercover officer and his mother’s reaction. There are scenes of humor in the film yet much of it is dramatic with some stylish dialogue as it play into the environment of the film. Rosenberg’s direction also play into this world of the streets where it has its own rules and idea of justice as it’s something Charlie is fully aware of while Paulie is sort of ignorant about it thinking he can charm or bullshit his way out of a situation. The third act revolves around Paulie dealing with the consequences of who he stole the money from and the fallout of those consequences in which Charlie realizes what he has to do. Yet, there is a sense of conflict in Charlie in whether to help out someone that is family or to save himself. Overall, Rosenberg crafts a lively and engaging film about two cousins going to crime to fund their dream.
Cinematographer John Bailey does brilliant work with the film’s cinematography with the richness of some of the daytime exterior scenes as well as the usage of low-key lights for Bed Bug’s hideout in its interiors and the usage of lights for some of the scenes set at night. Editor Robert Brown does excellent work with the editing as it is largely straightforward to play into the drama and the few moments of suspense such as Paulie being confronted by his uncle. Production designer Paul Sylbert and set decorator George DeTitta Sr. do fantastic work with the look of the restaurant Charlie and Paulie work at in the film’s opening sequence as well as the former’s apartment and the place where Bed Bug works at.
Costume designer Joseph G. Aulisi does nice work with the costumes from the stylish suits that Charlie wears to some of the stylish clothes that Paulie wears. Sound mixer James Sabat does terrific work with the sound as it play into the atmosphere of some of the locations. The film’s music by Dave Grusin does amazing work with the film’s soundtrack as it’s a mixture of jazz and pop to play into the energy of Greenwich Village while music supervisor Harry V. Lojewski provide a fun soundtrack that mixes pop and jazz that include music from Frank Sinatra.
The casting by Bonnie Timmerman is superb as it feature some notable small roles from Joe Grifasi as Jimmy the Cheese Man, Philip Bosco as Paulie’s father, Val Avery and M. Emmet Walsh as a couple of detectives, Tony Musante as Paulie’s Uncle Pete, Jack Kehoe as the undercover detective Bunky, and Frank Vincent as Bed Bug’s crew chief. Geraldine Page is incredible in her brief two-scene performance as Bunky’s mother Mrs. Ritter as a woman who is wondering what her son is doing and later cope with the aftermath as it’s just a very powerful performance. Burt Young is fantastic as Bed Bug Eddie as a local mob hood who is trying to maintain some power in his turf while wanting to find out who stole his money. Kenneth McMillan is excellent as Barney as locksmith/clock repairman who helps Charlie and Paulie as their safecracker where he understand what is going on as well as becoming uneasy about who the money belonged to where he knows something is about to go wrong.
Daryl Hannah is brilliant as Diane as Charlie’s girlfriend who is concerned about what Charlie is doing as well as seeing if he can provide a future for both of them and their child that is on the way. Finally, there’s the duo of Mickey Rourke and Eric Roberts in phenomenal performances in their respective roles as the cousins Charlie and Paulie. Rourke provides a performance that is grounded while also having moments of anger and frustration into the obstacles he is given relating to his dreams of running his own restaurant and his relationship with Diane. Roberts’ performance is filled with charm and an energy that is insatiable to watch as someone that is often upbeat but also naïve about the ways of the world as Roberts is always fun to watch. Rourke and Roberts together have this chemistry that is powerful as well as having this sense of brotherhood as two guys who depend on each other no matter how fucked up one of them is.
The Pope of Greenwich Village is a remarkable film from Stuart Rosenberg that feature top-notch performances from Mickey Rourke and Eric Roberts. Along with its great supporting cast, riveting story, dazzling visuals, and a fun soundtrack, it’s a film that explore the folly of ambition and crime as well as two cousins trying to do whatever they can to reach their dream. In the end, The Pope of Greenwich Village is a sensational film from Stuart Rosenberg.
Stuart Rosenberg Films: (Murder Inc.) – (Question 7) – Cool Hand Luke - (The April Fools) – (Move (1970 film)) – (WUSA) – (Pocket Money) – (The Laughing Policeman) – (The Drowning Pool) – (Voyage of the Damned) – (Love and Bullets) – (The Amityville Horror) – (Brubaker) – (Let’s Get Harry) – (My Heroes Have Always Been Cowboys)
© thevoid99 2017
Originally Written and Posted at Epinions.com on 12/7/05 w/ Additional Edits & Revisions.
Based on Jake LaMotta's biographical novel co-written with Joseph Carter and Peter Savage, Raging Bull is the story about the rise and fall of the middleweight boxing champion who succumbs to failure as due to the pressures of the world as well as life outside of the ring. Directed by Martin Scorsese and screenplay by Mardik Martin and Paul Schrader, the film is an exploration into a man who rises high only to undo himself as he deals with failure as it stars Robert de Niro as Jake LaMotta. Also starring Joe Pesci, Frank Vincent, Nicholas Colasanto, Theresa Saldana, and Cathy Moriarty. Raging Bull is a visceral yet harrowing film from Martin Scorsese.
The film is an exploration into the rise and fall of Jake LaMotta as he was once this fearless middleweight fighter in the early 1940s only to become a wreck of a man doing a comedy routine in 1964 as the film begins with this once revered man who is now a fat bum. In the course of the film, LaMotta is portrayed as a gifted fighter who is able to fight his opponents with great skill though he would lose a few matches. Some of which by decision much to the dismay of the people who knows how good LaMotta is. Outside of the ring, LaMotta is a very complicated man who doesn't treat people very well like his first wife Irma (Lori Anne Flax) while leaving all of the business matters to his young brother Joey (Joe Pesci). Once Jake falls for a 15-year old girl named Vickie (Cathy Moriarty) whom he would later marry, things would seem to go well. Yet, bad decisions in and out of the ring, paranoia, and jealousy would lead to his own undoing as he later becomes a retired fat man trying to become a stand-up comedian at his own club in the mid-1950s.
The classic rise-and-fall storyline is always done in some kind of formula but in the way Martin Scorsese and his writers Paul Schrader and Mardik Martin chose to approach it by making it into a simple character study. Going for a visually, poetic style of directing with hand-held cameras, freeze-frames, frame-speeds, and all sorts of unconventional style. Scorsese presents a beautiful yet harrowing tale of a boxer who had it all only to realize that he blew it. Overall, it's Scorsese's realistic take on drama that gives the movie a lasting quality from what goes on in the ring to what happens outside the ring. There's never a moment where the drama is over-the-top, especially in famous scenes where Jake asks Joey to hit him or the jail-cell scene in where Jake ponders why he's done this to himself.
While the film's dramatic moments is wonderfully done thanks to Scorsese's direction, a lot of the credit should go to the screenwriters, Martin and Schrader. Easy enough to follow along in their structure, the story pretty much is told in a simple yet stylized way from the domestic drama to everything that goes on in the ring. The first act of the story is Jake working his way into the top and the second act is where Jake reaches it only to find ways to blow it. The third act of the story isn't necessarily a boxing movie but instead becomes an aftermath of what happens when a boxer is done and becomes in what Marlon Brando's Terry Malloy in Elia Kazan's classic 1954 film On the Waterfront says "I could've had class, I could've been a contender. I could've been somebody, instead of a bum". That line itself pretty much sums up the failures of Jake La Motta who realizes what he's done in the end.
While Scorsese gets a lot of the credit for the film's presentation, Paul Schrader and Mardik Martin deserves equal credit for their realistic view on storytelling as well as the film's authentic dialogue. Especially in the film's spectacular boxing sequences which are some of the most beautiful and downright bloody images captured on film. With the real Jake La Motta serving as a consultant, the boxing sequences aren't just choreographed right down to its essential but also the camera movements and presentation including one sequence of a man getting knocked down with the camera falling down with him. Even in short sequences there's movements of freeze-frame shots, slow-motion angles, and everything.
It's not just Scorsese, La Motta, and the screenwriters who gets credit but some very important collaborators who capture the grit of what goes on in the ring. Cinematographer Michael Chapman's lighting and use of flashbulbs with the black-and-white photography is evocative in every frame to see, especially from the shots where the cameras would flash their bulbs and to what goes on in the ring with smoky air surrounding the fighters. While Chapman's other work on the film is filled with great, authentic moments, it's his work in the boxing ring that brings poetry to those images. Another person who is responsible for the boxing scenes is Scorsese's longtime editor Thelma Schoonmaker who's fast-cutting style and uses of freeze-frames, slow speeds, and stylized tone of editing gives the boxing scenes a moment of horror and wonderful imagery. Even in the shorter sequences, there's a great style as it's a masterwork in the world of editing.
The sound work of Les Lazarowitz and Bill Nicholson add a lot of chaos to the ring from the anger and excitement to the crowds to the swift punches and swings of the boxers inside. Even at moments, the sound is so authentic with every punch, the audience couldn't help but wince and groan at every punch delivered. Make-up artist Michael Westmore also deserves credit not just for his work in the ring with the blood coming out of the faces but also the make-up for the over-the-hill Jake La Motta that shows the sadness of a man who fell from grace hard. Helping the film with its authentic look on the New York sequences outside of the ring is production designer Gene Rudolf along with art director Sheldon Harber for many of the film's bar scenes and nightlife of 1940s/1950s America while Rudolf also does the design of houses and boxing rings in many of the film's other sequences. Costume designers John Boxer and Richard Bruno also do amazing work on the film's costume, especially the dresses of the female actresses and the suits of all the male actors.
While the film features a lot of old music from the likes of Perry Como, Tony Bennett, and other singers of the time, many of the film's music is from the works of composer Pietro Mascagni, especially the film's opening orchestral score in the opening credits of Jake La Motta boxing alone. The music helps in what Scorsese wanted in terms of its dramatic effect and ode to nostalgia. Helping Scorsese with the use of music is former leader of the Band, Robbie Robertson who was Scorsese's leading music producer for several of his films during the 80s. Robertson deserves credit for placing the music on where it should be that helps the film with its authenticity.
Finally, there's the film's superb cast of actors that features great performances from the men who play many of La Motta's opponents, notably Johnny Barnes in the role of Sugar Ray Leonard. Also mentioned for their cameo roles are Martin Scorsese as a bar hand in the film's final scene and his father Charles as Tommy Como's friend as well as early appearances from Michael Badalucco as a soda-pop clerk and John Turturro as a guy in the table in the party scene where Jake sees Vickie. While Theresa Saldana and Lori Anne Flax had small roles as the respective wives of Joey and Jake, they definitely are memorable, especially Flax as Jake's volatile first wife. Nicholas Colasanto is excellent as the sleazy but charming mob boss Tommy Como with his wit and corruptive power. Frank Vincent is also amazing as the hard-nosed and nasty Salvy who likes to get things into trouble and it's a memorable role since Vincent is a well-known character actor.
In her film debut at only 18-years old, Cathy Moriarty gives an amazing, sprawling performance as the beautiful but frustrated Vickie. Moriarty brings a toughness and grace to her role while having great scenes with Pesci and de Niro while standing on her own. Making her character more complex, even towards the end of the film, Moriarty grows from a battered wife who has been sexually and socially neglected to a woman who has had enough and wants to move on. This is a wonderful performance from the always brilliant and funny Moriarty. Joe Pesci gives an amazing, fierce performance as Joey with his tough-minded business attitude and as a conscience-of-sorts for Jake despite the bad things he does for himself too. Whenever he's near Jake, Pesci always tells him what to do and what is right but we also see a real mean side as he goes ballistic in a famous fight scene against Frank Vincent. Though Pesci hasn't been around in the film world since the late 90s, he's an actor that no one can forget as he is truly one of Scorsese's finest actors.
Finally, there's Robert de Niro in a performance for the ages as Jake LaMotta. It's a performance that is an example into why de Niro is so revered as he showcases a man who is one tough son-of-a-bitch who is not willing to be knocked down in a fight eve if he has to lose. There's also this vulnerability that de Niro displays as he makes LaMotta human by showcasing the man's insecurities whether it's through violence or not wanting to give in to sex for different reasons. Once de Niro becomes the older LaMotta, we see a man who is nothing more than a shell of his former self as there's layers to the performance not just in his appearance but what's inside as it's definitely one unforgettable performance.
Raging Bull is an outstanding film from Martin Scorsese that features a magnificent performance from Robert de Niro. Along with a great supporting cast that includes Joe Pesci, Frank Vincent, and Cathy Moriarty as well as amazing technical work from Michael Chapman and Thelma Schoonmaker. The film is truly one of the most eerie portraits of a man who rises high and falls big as it is presented with such beauty and ugliness that captures the life of Jake LaMotta. In the end, Raging Bull is a phenomenal film from Martin Scorsese.
Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn’t Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - The Age of Innocence - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator (2004 film)) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2013
