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Editorial Reviews
Amazon.com
Is Martin Scorsese the last of the auteur filmmakers? Does his cinematic brilliance put him on a par with John Ford, Orson Welles, Howard Hawks, John Cassavettes, and other major American directors? In The Cinema of Martin Scorsese, Lawrence S. Friedman investigates this question as he takes the reader through the progress of Scorsese's career. Friedman explores Scorsese's influences, his stock company of actors (which includes Robert De Niro, Joe Pesci, and Harvey Keitel), his student films, and all his major works, including the masterpieces Mean Streets, Taxi Driver, Raging Bull, and Goodfellas. The versatility of Scorsese's interests are examined in studies of his musical films New York New York and The Last Waltz, his adaptation of the literary masterpieces The Last Temptation of Christ and The Age of Innocence, his postmodern comedy After Hours, as well as Cape Fear, Alice Doesn't Live Here Anymore, The Color of Money, and Casino. Friedman even offers some speculations about Kundun, which is about the 14th Dalai Lama and the Chinese takeover of Tibet. This well-written and engaging book offers many insights into an artist who believes that "my whole life has been movies and religion. That's it. Nothing else." --This text refers to an out of print or unavailable edition of this title.
From Library Journal
"My whole life has been movies and religion. That's it. Nothing else," admits Martin Scorsese. The director burst on the American film scene in the early Seventies with personal and sometimes violent and disturbing films like Mean Streets and Taxi Driver. Since then, Scorsese has retained his status as an independent filmmaker and was recently given the American Film Institute's Life Achievement Award. Friedman (English, Purdue Univ.) offers a timely appraisal of Scorsese's career, covering his student days, apprenticeship with exploitation director Roger Corman, personal and professional excesses, and cinematic controversies. The author also reviews recurrent themes of sexual longing, the Catholic burden of sin and guilt, and a search for the connection between God and humans. Nor does he neglect Scorsese's offbeat films. This is a lively, informative look at the "consummate cineast," whom Steven Spielberg calls America's best and most honest director. Recommended for popular film collections.?Stephen Rees, Levittown Regional Lib., Pa.
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Is Martin Scorsese the last of the auteur filmmakers? Does his cinematic brilliance put him on a par with John Ford, Orson Welles, Howard Hawks, John Cassavettes, and other major American directors? In The Cinema of Martin Scorsese, Lawrence S. Friedman investigates this question as he takes the reader through the progress of Scorsese's career. Friedman explores Scorsese's influences, his stock company of actors (which includes Robert De Niro, Joe Pesci, and Harvey Keitel), his student films, and all his major works, including the masterpieces Mean Streets, Taxi Driver, Raging Bull, and Goodfellas. The versatility of Scorsese's interests are examined in studies of his musical films New York New York and The Last Waltz, his adaptation of the literary masterpieces The Last Temptation of Christ and The Age of Innocence, his postmodern comedy After Hours, as well as Cape Fear, Alice Doesn't Live Here Anymore, The Color of Money, and Casino. Friedman even offers some speculations about Kundun, which is about the 14th Dalai Lama and the Chinese takeover of Tibet. This well-written and engaging book offers many insights into an artist who believes that "my whole life has been movies and religion. That's it. Nothing else." --This text refers to an out of print or unavailable edition of this title.
From Library Journal
"My whole life has been movies and religion. That's it. Nothing else," admits Martin Scorsese. The director burst on the American film scene in the early Seventies with personal and sometimes violent and disturbing films like Mean Streets and Taxi Driver. Since then, Scorsese has retained his status as an independent filmmaker and was recently given the American Film Institute's Life Achievement Award. Friedman (English, Purdue Univ.) offers a timely appraisal of Scorsese's career, covering his student days, apprenticeship with exploitation director Roger Corman, personal and professional excesses, and cinematic controversies. The author also reviews recurrent themes of sexual longing, the Catholic burden of sin and guilt, and a search for the connection between God and humans. Nor does he neglect Scorsese's offbeat films. This is a lively, informative look at the "consummate cineast," whom Steven Spielberg calls America's best and most honest director. Recommended for popular film collections.?Stephen Rees, Levittown Regional Lib., Pa.
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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Citations
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10
books
cite this book:
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- Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction by David Butler on page 184, page 185, and Back Matter
- How to do Media and Cultural Studies by Jane Stokes on page 89, page 90, and Back Matter
- Afterimage: The Indelible Catholic Imagination of Six American Filmmakers by Richard A. Blake in Back Matter (1), and Back Matter (2)
- Martin Scorsese's Raging Bull (Cambridge Film Handbooks) by Kevin J. Hayes in Back Matter
- Theatres of Human Sacrifice: From Ancient Ritual to Screen Violence (SUNY Series in Psychoanalysis and Culture) by Mark Pizzato in Back Matter
See all 10 books citing this book