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18 Oct 2023

Filmmaker's signature: Martin Scorsese

Martin Scorsese has been leading the charge in Hollywood for over 50 years, with films such as 'Taxi Driver' (1976), 'Goodfellas' (1990), and 'The Wolf of Wall Street' (2013) merely scratching the surface of his influence.

Cited as one of the greatest filmmakers of all time, Scorsese's work is a smorgasbord of cinematic fare, ranging from gritty crime thrillers like Mean Streets (1973) and The Departed (2006) to period dramas like The Age of Innocence (1993) and Gangs of New York (2002). Throw in family films, thrillers, and music documentaries, and his legacy becomes crystal clear.

With Killers of the Flower Moon now upon us, plus the announcement of his next project, The Wager, the 80-year-old maestro shows no signs of slowing down. Let's take a look at some of his trademarks.

Religion

Scorsese was raised Catholic and spent much of his youth attending church. In fact, he once contemplated becoming a priest before discovering film. He's made several religion-based films, such as The Last Temptation of Christ (1988), Kundun (1997), and Silence (2016), and includes symbolism and themes throughout the rest, with a notable example being his 1999 paramedic drama Bringing Out the Dead.

Illusions of grandeur

Many of Scorsese's characters are anti-heroes, while others suffer from illusions of grandeur, and some exhibit both qualities. Robert De Niro's Rupert Pupkin in The King of Comedy (1982) is a great example, as well as Leonardo DiCaprio's Howard Hughes in The Aviator, whose pursuit of excellence is unrivalled. Adam Driver and Andrew Garfield play missionaries in Silence, whose pilgrimage proves to be in vain and at great cost to others.

Violence

Like Sam Peckinpah before him or Quentin Tarantino, Scorsese's work is often associated with extreme violence, and there is no denying his unflinching approach when depicting humanity at its worst. From the shocking finale of Taxi Driver to the brutality of Goodfellas, one doesn't have to look far to find examples of confronting imagery. However, unlike his aforementioned filmmaking colleagues, his violence is always contextual and rarely glorified.

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