This documentary of 225 minutes in length is presented by Martin Scorsese and produced by the British Film Institute. It was originally shown in three parts on Channel 4 in the UK in 1995, and the DVD preserves the 3 part structure.
Part I
*The director's dilemma
*The director as storyteller
**The Western
**The Gangster film
**The Musical
Part II
*The director as illusionist
*The director as smuggler I
Part III
*The director as smuggler II
*The director as iconoclast
It is not as successful as its sequel
My Voyage to Italy
, in my opinion, mainly because Scorsese tries to cover too much ground and in the process most films only get very short exposure (1-3 minutes) instead of 5-10 minutes in Voyage. Naturally, the list is much longer. However, this is still very much worth watching and Scorsese's love of these old films are palpable. (A personal account by a master is always an exceptional experience!) As in its sequel
My Voyage to Italy
, with few notable exceptions the list stops at 1960s when Scorsese started his own film making. ("I wouldn't be able to do justice to my contemporaries....")
Without much ado, here is the list.
N.B. Films followed by parenthesis with the year of release indicate that multiple films share identical names.
--Part I--
The Bad and the Beautiful, 1952, directed by Vincente Minnelli
Duel in the Sun, nicknamed "Lust in the Dust", 1946 Western film directed by King Vidor, William Dieterle and others
The Girl Can't Help It, 1956 Musical film directed by Frank Tashlin
Bigger Than Life, 1956 directed by Nicholas Ray
Vertigo, 1958 psychological thriller film directed by Alfred Hitchcock
The Naked Kiss, 1964 neo-noir film written and directed by Samuel Fuller
Murder by Contract, 1958 film noir directed by Irving Lerner
The Red House, 1947 psychological thriller directed by Delmer Daves
The Phenix City Story, 1955 film noir directed by Phil Karlson
Sullivan's Travels, 1941 comedy film written and directed by Preston Sturges
The Crowd, 1928 silent film directed by King Vidor
The Big Parade, 1925 silent film directed by King Vidor
Shadow of a Doubt, 1943 thriller film directed by Alfred Hitchcock
Mr. Smith Goes to Washington, 1939, directed by Frank Capra
The Great Train Robbery, 1903 Western film written, produced, and directed by Edwin S. Porter
The Musketeers of Pig Alley, 1912, directed by D. W. Griffith
High Sierra, 1941, directed by Raoul Walsh
Colorado Territory, 1949 western film directed by Raoul Walsh (a remake of the 1941 High Sierra)
Stagecoach (1939), 1939 western film directed by John Ford
She Wore a Yellow Ribbon, 1949 western film directed by John Ford
The Searchers, 1956 western film directed by John Ford
The Furies, 1950 American Western film directed by Anthony Mann
The Naked Spur, 1953 American Western film directed by Anthony Mann
The Tall T, 1957 Western film directed by Budd Boetticher
The Left Handed Gun, 1958 American western film and the film directorial debut of Arthur Penn
Unforgiven, 1992 American Western film produced and directed by Clint Eastwood
Chesty: A Tribute to a Legend, 1971 documentary directed by John Ford
The Public Enemy, 1931 American Pre-Code crime film directed by William A. Wellman
The Regeneration, 1915, directed by Raoul Walsh
Scarface (1932), 1932 American gangster film directed by Howard Hawks (and Richard Rosson)
The Roaring Twenties, 1939 crime thriller directed by Raoul Walsh
I Walk Alone, 1948 film noir directed by Byron Haskin.
Force of Evil, 1948 film noir directed by Abraham Polonsky
Point Blank, 1967 American crime film directed by John Boorman
Gold Diggers of 1935, 1935 musical film directed and choreographed by Busby Berkeley
Gold Diggers of 1933, 1933 musical film directed by Mervyn LeRoy, staged and choreographed by Busby Berkeley
42nd Street, 1933 musical film directed by Lloyd Bacon with choreography by Busby Berkeley
Footlight Parade, 1933 musical film directed by Lloyd Bacon with choreography by Busby Berkeley
Meet Me in St. Louis, 1944 musical film directed by Vincente Minnelli
My Dream Is Yours, 1949 musical and comedy film directed by Michael Curtiz
*New York, New York, 1977 musical directed by Martin Scorsese (film mentioned in connection with My Dream Is Yours)
The Band Wagon, 1953 musical film directed by Vincente Minnelli
A Star Is Born (1954), 1954 musical film directed by George Cukor
All That Jazz, 1979 musical film directed by Bob Fosse
--Part II--
The Cameraman, 1928 silent comedy directed by Edward Sedgwick
The Birth of a Nation, 1915 silent film directed by D. W. Griffith
Death's Marathon, 1913 silent film directed by D. W. Griffith
Cabiria, 1914 Italian silent film directed by Giovanni Pastrone
Intolerance, 1916 silent film directed by D. W. Griffith
The Ten Commandments (1923 film), 1923 silent film directed by Cecil B. DeMille
Samson and Delilah (1949), 1949, directed by Cecil B. DeMille
The Ten Commandments (1956 film), 1956, directed by Cecil B. DeMille
Sunrise: A Song of Two Humans, 1927 silent film directed by F. W. Murnau
Seventh Heaven (1927), 1927 silent film directed by Frank Borzage
Anna Christie (1930), 1930, directed by Clarence Brown
Her Man, 1930, directed by Tay Garnett
The Big House (1930), 1930, directed by George W. Hill
Leave Her to Heaven, 1945 film noir directed by John M. Stahl
Johnny Guitar, 1954 Western film directed by Nicholas Ray
The Robe, 1953 Biblical epic film directed by Henry Koster
East of Eden, 1955, directed by Elia Kazan
Some Came Running , 1958, directed by Vincente Minnelli
Land of the Pharaohs, 1955, directed and produced by Howard Hawks
The Fall of the Roman Empire, 1964, directed by Anthony Mann
The Young Indiana Jones Chronicles, American television series from 4 March 1992 to 24 July 1993, created and executively produced by George Lucas, directed by Steven Spielberg
2001: A Space Odyssey, 1968 science fiction film produced and directed by Stanley Kubrick
Cat People, 1942 horror film directed by Jacques Tourneur
I Walked with a Zombie, 1943 horror film directed by Jacques Tourneur
Letter from an Unknown Woman (1948), 1948 film directed by Max Ophüls, based on the novella written by Stefan Zweig
Scarlet Street, 1945 American film noir directed by Fritz Lang
Detour (1945), 1945, directed by Edgar G. Ulmer
Double Indemnity, 1944 film noir directed by Billy Wilder
Crime Wave (1954), 1954 film noir directed by André De Toth
Outrage (1950), 1950, directed by noted film noir actress and pioneering female director Ida Lupino
Gun Crazy, 1950 film noir directed by Joseph H. Lewis
T-Men, 1947 film noir directed by Anthony Mann
Raw Deal (1948), 1948 film noir directed by Anthony Mann
Kiss Me Deadly, 1955 film noir directed by Robert Aldrich
--Part III--
Silver Lode, 1954, directed by Allan Dwan
All That Heaven Allows, 1955, directed by Douglas Sirk
Bigger Than Life, 1956, directed by Nicholas Ray
Forty Guns, 1957 western film directed by Samuel Fuller
Pickup on South Street, 1953 film noir directed by Samuel Fuller
Shock Corridor, 1963, directed by Samuel Fuller
Two Weeks in Another Town, 1962, directed by Vincente Minnelli
Broken Blossoms, 1919 silent film directed by D. W. Griffith
The Wedding March (1928), 1928 silent film directed by Erich von Stroheim
I Am a Fugitive from a Chain Gang, 1932, directed by Mervyn LeRoy
Hell's Highway (1932), 1932, directed by Rowland Brown
Wild Boys of the Road, 1933, directed by William Wellman
Heroes for Sale, 1933, directed by William Wellman
The Scarlet Empress, 1934, directed and produced by Josef von Sternberg
Citizen Kane, 1941, directed by and starring Orson Welles
The Magnificent Ambersons, 1942, directed and written by Orson Welles
A Streetcar Named Desire (1951), 1951, directed by Elia Kazan
On the Waterfront, 1954, directed by Elia Kazan
Apache, 1954, directed by Robert Aldrich
Blackboard Jungle, 1955, directed by Richard Brooks
The Wild One, 1953, Directed by László Benedek
Advise & Consent, 1962, directed by Otto Preminger
Paths of Glory, 1967, directed by Stanley Kubrick
I Want to Live!, 1958 film noir directed by Robert Wise
The Man with the Golden Arm, 1955, directed by Otto Preminger
Sweet Smell of Success, 1957 film noir directed by Alexander Mackendrick
One, Two, Three, 1961 comedy directed by Billy Wilder
Bonnie and Clyde, 1967, directed by Arthur Penn
Lolita (1962), 1962, directed by Stanley Kubrick
Barry Lyndon, 1975, directed by Stanley Kubrick
Faces, 1968, directed by John Cassavetes
America America, 1963, directed by Elia Kazan
The Grapes of Wrath, 1940, directed by John Ford
P.S. I also edited the wiki entry of this documentary, so you can also find the same list there.
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A Personal Journey With Martin Scorsese Through American Movies (3 Discs) [DVD]
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| Additional DVD options | Edition | Discs | Price | New from | Used from |
|
DVD
October 29, 2010 "Please retry" | — | 1 | $16.12 | $7.03 |
| Format | Black & White, Color, DVD, Full Screen, NTSC |
| Contributor | Martin Scorsese, Michael Henry Wilson, Martin Scorsese (narrator), Florence Dauman |
| Language | English |
| Number Of Discs | 3 |
| Runtime | 3 hours and 46 minutes |
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Product Description
Legendary filmmaker Martin Scorsese shares his personal view and knowledge of the films, directors and actors that have shaped the world's most popular art form.
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : Unrated (Not Rated)
- Product Dimensions : 7.5 x 5.5 x 0.5 inches; 3.5 Ounces
- Item model number : aniplex test
- Director : Martin Scorsese, Michael Henry Wilson
- Media Format : Black & White, Color, DVD, Full Screen, NTSC
- Run time : 3 hours and 46 minutes
- Release date : January 30, 2012
- Actors : Martin Scorsese (narrator)
- Producers : Florence Dauman
- Language : English (Dolby Digital 2.0 Stereo), Unqualified
- Studio : LIONSGATE
- ASIN : 6305941122
- Writers : Martin Scorsese, Michael Henry Wilson
- Number of discs : 3
- Best Sellers Rank: #91,279 in Movies & TV (See Top 100 in Movies & TV)
- #3,526 in Documentary (Movies & TV)
- #7,868 in Kids & Family DVDs
- Customer Reviews:
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Reviewed in the United States 🇺🇸 on August 11, 2012
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Reviewed in the United States 🇺🇸 on August 12, 2001
This may be the single-best tool you could ever study to understand how one great cinematic mind realized its vision. Scorsese is selfless; he shows us how his vision came to be. Most directors would rather us not see how their illusions are created; Scorsese's purpose is the complete opposite.
This set includes three video cassettes (75 minutes apiece). He begins by focusing on the American Western, an understandable starting place as the American Western is arguably the most indigenous genre Americans can lay claim to. The most enlightening section from this section was his analysis of three John Ford movies, starring John Wayne. Scorsese's purpose was to show how the Western, along with Ford, grew more complex in three decades. As he says, "Same Director, Ford. Same star, John Wayne. Same setting, Monument Valley." However the image of the black-and-white cowboy-and-Indian hero of "Stagecoach" is a contrast between Ford's later "The Searchers," where Wayne's character Ethan Allen is "richer, more complex," Scorsese says. He IS richer and more complex -- a frightening hero. Scorsese's point is made: that cinema is ever expanding, the pallete becoming ever more complex, that filmmakers grow themselves. The second half of tape-1 focuses on gangster films; Scorsese was in territory he loved here. His study of the gangster film's development from "The Musketeers of Pig Alley" through Howard Hawkes's "Scarface," to Francis Ford Coppola's "Godfather" epic is an education in the development of American cinema itself.
The second tape is my favorite. Scorsese focuses on films you might not have heard of, but films that are achievements in American cinema: films that touched him. Jacque's Tourneau's "Cat People" (I think that's the title) and "I Walked With A Zombie," movies that are truly rich films but that have sadly been forgotten or dubbed 'B'-class films, Scorsese says. And it's true. These films created techniques and philosophies that changed American cinema -- they enhanced and developed the techniques that are the "illusions" that we too often take for granted as being the modern movie. From watching this section I realized how a film like "Blair Witch" (whether you liked it or hated it) was influenced by guys working on shoe-string budgets (Tourneau) but with the love of cinema; in the case of Tourneau, of scaring the pants off an audience with a minimal budget. Likewise, it becomes clear to see how Film Noir was "a mood," Scorsese says. And it was a mood. It was cool. It was indifferent. It was Pulp Fiction. There are comments by the legendary Billy Wilder on film noir, his "Double Indemnity" epitomizing the style. Wilder's comments were insightful, and Wilder is a pleasure to see on camera. I love this guy. He's like a blend of Yoda and Robin Williams.
The second half focuses on the "Director as Smuggler" and this blends into the third tape's "Director as Smuggler II." Comments by Douglas Sirk, Nicholas Ray -- eye-patch and all, insightful, insightful stuff. Ray says something that was kind a revelation to me. If you're hero isn't neurotic, or as neurotic as the audience, if he isn't as [messed] up then how can an audience identify with him, you know? Paint the hero flawed -- or at least as flawed as you and I -- and that way when they do something great, when they do something heroic, we can identify and say, "Man, I could have done that."
The behind-the-scenes footage of Samuel Fuller was hilarious -- tragic, in its own way -- and yet funny. "Don't wave the GD flag at me!" And Hoover objected, Fuller said. I loved this!
There are comments by more contemporary "smugglers" George Lucas, Francis Coppola -- on the digital age of American cinema. Coppola's advice is to embrace the new technology. Lucas's was less convincing, but not-without-point. "Why spend the money," Lucas says, "To transport hundreds of extras, to feed them, to clothe them, when they can be reproduced digitally." I listened to this skeptically -- thinking of film's like "Braveheart," where the director (Gibson) did haul all those extras out there and shoot those scenes. And then I thought of "Gladiator" -- Academy Awards or no -- it was easy to see that many of the epic shots were digitally reproduced. And I realized movies such as "Braveheart," "The Fall of the Roman Empire" (which Scorsese discusses) are sadly part of bygone era. It's simply too expensive to make those kinds of movies without digital "smuggling." So, I suppose Coppola's words ring true -- it's wise to embrace the new technology.
The final part of the third tape focuses on "The Iconoclast" -- filmmaker's who went at the system head-on. Here you'll find more recognizable names and Scorsese's discussions on how their films engaged him personally: DW Griffith, Charlie Chaplin, Orson Welles, Stanley Kubrick, John Cassevetas. I've watched the section on Kubrick's "Barry Lyndon" several times just to realize exactly what Scorsese sees when he discusses individual scenes in the film. It's really a trip to see these movies through his eyes, while he discusses them. There's a discussion of "Citizen Kane" -- naturally -- not to be missed with comments by Orson Welles, years later, on what it was like to have that kind of personal freedom while making a movie; and what it's like to have it taken away. Chaplin's "The Great Dictator" is looked at -- funny, funny stuff. And not without more profound implications, too.
Bottom line: this is an excellent journey through Amerian cinema, through the eyes of one our most gifted artists. Scorsese, I hope, will be remembered for giving us a gift, his gift. He has done more to preserve film history -- films, directors, and these directors' personal visions of our world, all of which would otherwise be forgotten -- Scorsese's done more to preserve all of this than any other single human being. It is a selfless journey.
This set includes three video cassettes (75 minutes apiece). He begins by focusing on the American Western, an understandable starting place as the American Western is arguably the most indigenous genre Americans can lay claim to. The most enlightening section from this section was his analysis of three John Ford movies, starring John Wayne. Scorsese's purpose was to show how the Western, along with Ford, grew more complex in three decades. As he says, "Same Director, Ford. Same star, John Wayne. Same setting, Monument Valley." However the image of the black-and-white cowboy-and-Indian hero of "Stagecoach" is a contrast between Ford's later "The Searchers," where Wayne's character Ethan Allen is "richer, more complex," Scorsese says. He IS richer and more complex -- a frightening hero. Scorsese's point is made: that cinema is ever expanding, the pallete becoming ever more complex, that filmmakers grow themselves. The second half of tape-1 focuses on gangster films; Scorsese was in territory he loved here. His study of the gangster film's development from "The Musketeers of Pig Alley" through Howard Hawkes's "Scarface," to Francis Ford Coppola's "Godfather" epic is an education in the development of American cinema itself.
The second tape is my favorite. Scorsese focuses on films you might not have heard of, but films that are achievements in American cinema: films that touched him. Jacque's Tourneau's "Cat People" (I think that's the title) and "I Walked With A Zombie," movies that are truly rich films but that have sadly been forgotten or dubbed 'B'-class films, Scorsese says. And it's true. These films created techniques and philosophies that changed American cinema -- they enhanced and developed the techniques that are the "illusions" that we too often take for granted as being the modern movie. From watching this section I realized how a film like "Blair Witch" (whether you liked it or hated it) was influenced by guys working on shoe-string budgets (Tourneau) but with the love of cinema; in the case of Tourneau, of scaring the pants off an audience with a minimal budget. Likewise, it becomes clear to see how Film Noir was "a mood," Scorsese says. And it was a mood. It was cool. It was indifferent. It was Pulp Fiction. There are comments by the legendary Billy Wilder on film noir, his "Double Indemnity" epitomizing the style. Wilder's comments were insightful, and Wilder is a pleasure to see on camera. I love this guy. He's like a blend of Yoda and Robin Williams.
The second half focuses on the "Director as Smuggler" and this blends into the third tape's "Director as Smuggler II." Comments by Douglas Sirk, Nicholas Ray -- eye-patch and all, insightful, insightful stuff. Ray says something that was kind a revelation to me. If you're hero isn't neurotic, or as neurotic as the audience, if he isn't as [messed] up then how can an audience identify with him, you know? Paint the hero flawed -- or at least as flawed as you and I -- and that way when they do something great, when they do something heroic, we can identify and say, "Man, I could have done that."
The behind-the-scenes footage of Samuel Fuller was hilarious -- tragic, in its own way -- and yet funny. "Don't wave the GD flag at me!" And Hoover objected, Fuller said. I loved this!
There are comments by more contemporary "smugglers" George Lucas, Francis Coppola -- on the digital age of American cinema. Coppola's advice is to embrace the new technology. Lucas's was less convincing, but not-without-point. "Why spend the money," Lucas says, "To transport hundreds of extras, to feed them, to clothe them, when they can be reproduced digitally." I listened to this skeptically -- thinking of film's like "Braveheart," where the director (Gibson) did haul all those extras out there and shoot those scenes. And then I thought of "Gladiator" -- Academy Awards or no -- it was easy to see that many of the epic shots were digitally reproduced. And I realized movies such as "Braveheart," "The Fall of the Roman Empire" (which Scorsese discusses) are sadly part of bygone era. It's simply too expensive to make those kinds of movies without digital "smuggling." So, I suppose Coppola's words ring true -- it's wise to embrace the new technology.
The final part of the third tape focuses on "The Iconoclast" -- filmmaker's who went at the system head-on. Here you'll find more recognizable names and Scorsese's discussions on how their films engaged him personally: DW Griffith, Charlie Chaplin, Orson Welles, Stanley Kubrick, John Cassevetas. I've watched the section on Kubrick's "Barry Lyndon" several times just to realize exactly what Scorsese sees when he discusses individual scenes in the film. It's really a trip to see these movies through his eyes, while he discusses them. There's a discussion of "Citizen Kane" -- naturally -- not to be missed with comments by Orson Welles, years later, on what it was like to have that kind of personal freedom while making a movie; and what it's like to have it taken away. Chaplin's "The Great Dictator" is looked at -- funny, funny stuff. And not without more profound implications, too.
Bottom line: this is an excellent journey through Amerian cinema, through the eyes of one our most gifted artists. Scorsese, I hope, will be remembered for giving us a gift, his gift. He has done more to preserve film history -- films, directors, and these directors' personal visions of our world, all of which would otherwise be forgotten -- Scorsese's done more to preserve all of this than any other single human being. It is a selfless journey.
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Top reviews from other countries
Brawny Withed
5.0 out of 5 stars
A Personal Cinematic Journey
Reviewed in the United Kingdom 🇬🇧 on June 15, 2013
I thought this DVD was a fascinating insight into the American films that director Martin Scorcese loves and considers a source of his inspiration and passion not including films. I watched this film in one sitting but it's probably more digestible to watch it in 2 or 3 parts as the subjects of focus do shift during the film.
I really enjoyed Scorsese's insights into what he loves about American Cinema and it has introduced me to some films I wasn't aware of and has made me want to rewatch some of the classics he discusses.
This is a must for anyone who loves Cinema and even if you don't like Martin Scorsese's films don't let this put you off as almost all Genres of films as discussed in this film.
If you like this you might want to watch these other excellent documentaries The Story of Film: An Odyssey [DVD ] Mgm: When the Lion Roars [DVD] [2009] [US Import ] and also Easy Riders, Raging Bulls [2003] [DVD ]
I really enjoyed Scorsese's insights into what he loves about American Cinema and it has introduced me to some films I wasn't aware of and has made me want to rewatch some of the classics he discusses.
This is a must for anyone who loves Cinema and even if you don't like Martin Scorsese's films don't let this put you off as almost all Genres of films as discussed in this film.
If you like this you might want to watch these other excellent documentaries The Story of Film: An Odyssey [DVD ] Mgm: When the Lion Roars [DVD] [2009] [US Import ] and also Easy Riders, Raging Bulls [2003] [DVD ]
5 people found this helpful
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steve
5.0 out of 5 stars
If you love film you'll love this.
Reviewed in the United Kingdom 🇬🇧 on May 22, 2020
This man must have a database in his head.
I've bought a number of films over the years recommended by Scorsese. This documentary covers a huge amount.
A must for any film fan.
Dvd arrived on time, no problems.
I've bought a number of films over the years recommended by Scorsese. This documentary covers a huge amount.
A must for any film fan.
Dvd arrived on time, no problems.
One person found this helpful
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Paul Barrett
5.0 out of 5 stars
Great Classic Cinema
Reviewed in the United Kingdom 🇬🇧 on January 10, 2018
Great filmaker even when his politics and religion sometimes get in the way. This is a master of his trade talking and showing what he loves about cinema. Hughly entertaining.
2 people found this helpful
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Peadar O'Kovsky
4.0 out of 5 stars
Interesting doc. But probably of most interest to film ...
Reviewed in the United Kingdom 🇬🇧 on June 13, 2018
Interesting doc. But probably of most interest to film buffs / nerds. Or if you're genuinely studying film making / moving image.
One person found this helpful
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Mo.
5.0 out of 5 stars
given as xmas present
Reviewed in the United Kingdom 🇬🇧 on January 14, 2013
my friend thought the dvd was fantastic, having been a projectionist during his many years employment, he is in his eighties and it brought back many memories of all the films he has seen and loved .
One person found this helpful
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