Every Martin Scorsese movie ranked from worst to best
“Cinema is a matter of what’s in the frame and what’s out.” – Martin Scorsese
Martin Scorsese, lovingly known as ‘Marty’, is a fiercely talented and exceptional director whose unique and audacious ventures elevate him to the level of an auteur. The bushy-tailed veteran director might come across as the most harmless and demure person in Hollywood, but his explosive and personal cinematic content has been studied with pleasure and admiration by film-buffs and cinephiles for decades.
Born to Italian-American parents in the Garment District of New York in 1942, Scorsese grew up in Little Italy, experiencing downtown life. His struggle with asthma proved to be a blessing in disguise, for when he was unable to play sports, he instead began watching films and grew increasingly infatuated with cinema as an art form, thus beginning his odyssey to becoming one of the greatest auteurs of all time.
Unable to be typecast into a particular genre, Scorsese transcends the boundaries set by cinema and, traversing his wide spectrum of films, one encounters violent noir films as well as aristocratic love stories, the conflict between divinity and humanity to dysfunctional relationships being disrupted by jealous insecurities. Along the way, he has shared a number of ionic partnerships, working with some of the industry’s finest minds, including actors like Robert De Niro, Leonardo DiCaprio, Joe Pesci, Harvey Keitel and Frank Vincent.
Scorsese’s signature style, a kaleidoscope of visual brilliance, intricately weaves together rich character studies and vibrant cinematography. His movies, often a canvas of urban realism, etch the raw, pulsating heartbeats of cities onto the screen, rendering metropolises as characters in their own right.
From the dark world of Travis Bickle and Taxi Driver to the frenetic mobster underground of Goodfellas, Scorsese’s lens captures the nuances of the human psyche, delving deep into the moral complexities of his characters.
Paying tribute to the beloved director, we attempt to rank Scorsese’s filmography in order of greatness, featuring opulent period dramas, controversial biopics, fractured psychological character portraits and much more.
Every Martin Scorsese movie ranked:
26. Who’s That Knocking at My Door? (1967)
Scorsese’s feature film debut and the debut of Harvey Keitel is all about catholic guilt and rage, telling the story of J.R., a man who struggles to accept the past of his independent and free-spirited girlfriend Bethune.
The provocative character study of a man conflicted over the purity and morality of his girlfriend, who is a rape survivor, is appalling; it also predicts Scorsese’s future obsession with the theme of guilt and conscience in Catholicism. Visceral themes and motifs of psycho-sexual anguish on being exposed to religious iconography are well brought out in this feature.
“Oh, yeah. Why not, huh? Everybody should like westerns. Solve everybody’s problems if they liked westerns.”
25. Boxcar Bertha (1970)
A film inspired by Bonnie and Clyde, Scorsese’s 1970 movie focuses on the story of Boxcar Bertha Thompson and Big Bill Shelly, a pair of lovers and robbers who are forced to be on the run as fugitives after Bertha is suspected to have murdered an affluent gambler.
John Cassavetes had harshly criticised Martin Scorsese for this film by saying, “You just spent a year of your life making a piece of shit”. But, despite this criticism, the low-budget film allowed the director to experiment with his editing and cinematography skills. With stellar performances from the cast that included David Carradine, Barbara Hershey and Barry Primus, it is not only an ‘exploitation picture’ but also an impressive and familiar parallel to the popular outlaw-couple films of that age. It’s not a masterpiece by any stretch, but it isn’t a waste of time either.
“I’d do anything you want. Wanna quit, we’ll quit. We’ll go away.”
24. New York, New York (1977)
New York, New York focuses on the life of jazz saxophonist Jimmy Doyle and singer Francine Evans, who meet and fall head-over-heels in love with each other. However, after marriage, they struggle to move forward in their careers and the saxophonist’s volatile behaviour leads to the disintegration of their relationship, with their marriage falling apart after the birth of their baby.
An ambitious project on Scorsese’s part, the musical is thrilling and exhilarating, while the dysfunctional relationship evokes sympathy and unease. As Scorsese commented: “What would happen if you combined the formal elements of classic MGM musicals with more contemporary acting styles?”. It might remind younger audiences of La La Land and A Star is Born, but its quality compared to this modern duo is up for debate.
“Will you marry me? Will you marry me? I love you. Will you marry me?.”
23. Shutter Island (2010)
In Scorsese’s disappointing 2010 mystery thriller Shutter Island, US Marshal Teddy Daniels and his newly assigned partner, Chuck Aule, travel to the Ashecliffe Hospital on a remote island to investigate the disappearance of the patient. As Teddy delves deeper into the investigation, he realises the sinister nature of the asylum and its inmates; he must confront the ghosts of his past as well as his own fears to be able to successfully leave the island.
About as unsettling as a seaside fairground’s ghost train, Shutter Island simply doesn’t have the intense hold over you that it thinks it does. Despite this, Leonardo DiCaprio does a good job as Teddy Daniels, a man haunted by his traumatic past. Mark Ruffalo adds a brilliant dimension to the former, too, but it’s not enough in a film that is entertaining enough but leaves no indelible mark.
“Which would be worse – to live as a monster? Or to die as a good man?”
22. The Color of Money (1986)
A strange turn for Scorsese, and the one and only sequel of his career. The Color of Money is a follow-up to the 1961 film The Hustler, with the 1986 movie telling the story of Fast Eddie, a former pool hustler turned liquor salesman, who meets and partners up with the talented Vincent Laurie. After teaching the latter tricks of the trade in scamming, they have a major fallout over behavioural disagreements, later crossing paths as opponents in a tournament.
Whilst the film is a truly strange spectacle of shifting tones, Paul Newman and Tom Cruise thrive in their roles, with the former winning the only Oscar of his career thanks to his charismatic role as the ageing mentor to the brash budding talent, played by Cruise.
“You gotta have two things to win. You gotta have brains and you gotta have balls. Now, you got too much of one and not enough of the other.”
21. Gangs of New York (2002)
Set in 1846, Scorsese’s crime flick tells the story of rising tension among the Protestant and Catholic communities in Five Points, when Priest Vallon is mercilessly slaughtered by William ‘Bill the Butcher’. Years later, Vallon’s son, who witnesses the killing, returns to the town, using the alias of Amsterdam to murder Bill and avenge his father’s murder.
Nominated for ten Oscars, Gangs of New York was the first Martin Scorsese film Leonardo DiCaprio starred in, sparking their modern string of collaborations. While many praised Daniel Day-Lewis’ electrifying performance as the ruthless Bill, DiCaprio’s Amsterdam is a quintessential Dickensian hero whose eyes serve as the narrative lens. The problem is that the entire thing is undeniably goofy, and years after its release, it all feels like a poorly executed TV production.
“When you kill a king, you don’t stab him in the dark. You kill him where the entire court can watch him die.”
20. Kundun (1997)
Scorsese tells an emotionally isolating and spiritually enticing tale of the 14th Dalai Lama through the lens of His Holiness. It brings to light how a simple boy from an ordinary Tibetan family became the political and spiritual leader of his people, followed by the Chinese invasion of Tibet, which forced him into exile.
The film is visually and aesthetically pleasing as it brings forth a surreal and mystical Tibet aided by Roger Deakins’ excellence behind the camera. It is a beautiful and haunting portrayal of the Dalai Lama’s quest for life, with the power of the movie ultimately resulting in China banning the members of the production from entering the country again. Despite the film’s evident dramatic power, it’s a weighty film that slogs along and doesn’t do Scorsese, as one of cinema’s very best directors, justice.
“I believe I am a reflection, like the moon on water. When you see me, and I try to be a good man, you see yourself.”
19. Hugo (2011)
The only children’s movie Scorsese has ever set out to make, 2011’s Hugo tells the story of Hugo Cabret, a lonely orphan who maintains the station clocks and lives in the station walls in 1930s Paris. Along with his friend Isabella, he embarks on a quest to solve the mystery of the broken automaton as well as find a home.
While not the first film you think of in Scorsese’s filmography, the extravagance and elegance that lie in the innocence of Hugo is beautiful. Nominated for 11 Academy Awards, the powerful performances, as well as the exquisite aesthetics, make it certainly worth a watch. Indeed, as an introduction to the potential power of the moving image, Scorsese also supplies a pretty great film to inspire any young burgeoning filmmaker, fitting a captivating adventure into a tale that includes Georges Méliès, one of cinema’s greatest pioneers.
“I always believed the world is a machine. All of us were made for a purpose.”
18. Cape Fear (1991)
Following his extravagant triumph of Goodfellas, Scorsese’s Cape Fear was, in comparison, ‘just a thriller’, but a superb one at that. Scorsese employed Alfred Hitchcock’s techniques by using unique camera angles, lighting and editing in the story of Max Cady, a convicted rapist, who uses his knowledge of the law and its loopholes to avenge his 14-year imprisonment. He blames public defender Sam Bowden for concealing proof that could have secured his acquittal.
In his seventh collaboration with Scorsese in this smart and well-crafted film, Robert De Niro’s buff and sleazy psychopath of a character steals the spotlight. Both terrific and terrifying, De Niro’s character is of optimum shock value, providing the film with almost all of its contemporary pertinence.
“I am going to teach you the meaning of commitment.”
17. Bringing Out the Dead (1999)
Another product of the classic Scorsese-Schrader duo, Bringing Out the Dead brings to light a totally different yet frenzied depiction of the wounded New York Streets from the perspective of a city paramedic, Frank Pierce, haunted by the pressure of saving lives and witnessing deaths. Sanity hangs loosely by a thread, and before he snaps, he befriends a victim’s daughter, Mary Burke.
The film is bound to move the audience with a stunning and compelling story of a troubled and anguished paramedic. Nicholas Cage, as Pierce, is intense and vulnerable in his struggles to survive each night, allowing the paranoia and anxiety to effortlessly permeate through the screen. Despite the stress of the movie, it was actually conceived as a tribute to the paramedics of the city.
“I’d always had nightmares, but now the ghosts didn’t wait for me to sleep.”
16. The Age of Innocence (1993)
Adapted from Edith Wharton’s 1920 novel, The Age of Innocence is a historical romantic drama that revolves around aristocrats’ lives in 1870s New York. Wealthy and handsome, Newland Archer, a lawyer, is engaged to the sweet and charming socialite, May. While it seems to be a match made in heaven, the arrival of May’s beautiful cousin, Countess Ellen Olenska, disrupts their idea of paradise. Enchanted by Ellen’s unconventional and defiant thinking, Newland’s desire for her makes him question his love and engagement to the demure May amidst a dilemma between his emotions and society.
Created by Scorsese as a tribute to his father, Luciano Charles Scorsese, the film features the Scorsese patriarch and matriarch in small cameos. Although it had not been a box office success, the opulence and grandeur of 1870s New York aristocracy is a visual treat for the eyes. In this saga of unrequited and unconsummated love, longing and loss, the ensemble cast, including Daniel Day-Lewis, Michelle Pfeiffer and Winona Ryder, deliver outstanding performances.
“Newland. You couldn’t be happy if it meant being cruel.”
15. The Aviator (2004)
Howard Hughes, an aviator, is also an eccentric director famous in the film industry, but he was a troubled icon whose growing OCD and paranoia became a threat to his legendary reputation and career. Personal demons and past reminiscence made it increasingly difficult for him to take control of his life.
The narrative traces Hughes’ life from the late 1920s to the late 1940s, showcasing his pioneering work in aviation, his ventures in Hollywood, and his battles with personal demons and mental health issues. It intricately weaves together the story of his ambitious endeavours in aviation, including his passion for flying and his creation of innovative aircraft.
A second successive Scorsese film, DiCaprio earned his second Academy Award nomination with his brilliant and insightful portrayal of Hughes, to the point where the eccentric tycoon becomes an object of sympathy and admiration. He thrives in Scorsese’s artistic and scintillating approach to storytelling, with his acting prowess well-gauged by the visionary director.
“Sometimes I truly fear that I… am losing my mind. And if I did it…. It would be like flying blind.”
14. Silence (2016)
Adapted from Shusaku Endo’s novel of the same name, Silence is set in the Ed-era period in Japan when Christians were mercilessly pursued. In the 17th century, two Jesuit missionaries, Father Sebastian Rodrigues and Father Francisco Garupe, embark on a perilous mission from Portugal to Macau to locate and rescue their missing mentor, Cristóvão Ferreira. However, they have to be discreet lest they get caught by feudal leaders, which will result in an extremely painful and agonising death.
Termed Scorsese’s ‘passion project’, this is the third film with troubled figures caught between faith and doubt. The auteur’s 26-year-long odyssey to mirror his spiritual and reverent beliefs resonates in the film, well reflecting the characters’ dilemma between adherence to one’s moral beliefs and beliefs that seem pragmatic with respect to societal values. An ensemble led forward by Liam Neeson, Adam Driver and Andrew Garfield results in electrifying yet melancholic performances in a tense, anguished atmosphere.
“I feel so tempted. I feel so tempted to despair. I’m afraid.”
13. The Wolf of Wall Street (2011)
Based on the true story of a stockbroker named Jordan Belfort, Scorsese’s hedonistic saga of sex, drugs and crime chronicles the former’s journey from rags to riches by defrauding wealthy investors in billions, which ultimately has an adverse effect on his life.
Known as one of his most iconic roles, DiCaprio rightfully earned an Academy Award nomination for his stellar performance as the roguish Belfort. Spending many months with the real-life Jordan Belfort and even videotaping the latter’s expression to impersonate him better when high on extra-strong lemon Quaaludes, DiCaprio excellently captures his mannerisms.
Matthew McConaughey, who has a flair for outperforming lead actors with his striking supportive roles, plays the sleazy senior broker, Mark Hanna, under whose tutelage Belfort gets inducted into the world of hedonism; cocaine, masturbation and hookers should advisably be his top priority. Though a controversial piece of cinema, all in all, this is a wild look inside the path to achieving the American dream of capitalism.
“On a daily basis, I consume enough drugs to sedate Manhattan, Long Island, and Queens for a month”.
12. The Irishman (2019)
A masterpiece in the vein of his former triumphs, The Irishman focuses on Frank Sheeran, a truck driver-turned-hitman who works closely with a northeastern Pennsylvania crime family headed by Russell Bufalino. Frank begins ‘painting houses’, a code word for contract-killing and is cold and charismatic. Eventually, he is introduced to the fiery Jimmy Hoffa, who has ties with organised crime.
The Irishman is a contemplative and introspective take on the mob genre, focusing on the consequences of a life steeped in violence and crime. Scorsese’s direction meticulously crafts a narrative that examines the moral dilemmas faced by Sheeran as he navigates his loyalty to both Hoffa and the Bufalino family.
Finely curated, the film boasts a heavyweight ensemble, including Robert De Niro, Al Pacino, Joe Pesci and more. Pacino is exhausted and vulnerable yet loud and funny, De Niro exudes a terrifyingly cold persona, and Pesci intimidates with his mere presence. Conveying how modernity changed the ways of the old world, Scorsese’s film ends on a poignant note, capping off a brilliant epic that pays tribute to the gangster genre.
“You don’t know how fast time goes until you get there.”
11. The Departed (2006)
While constantly infiltrating each others’ organisation, Boston Police Officer Billy Costigan, and Boston mob member, Colin Sullivan, are embroiled in a vicious cat-and-mouse chase. They find moles in their respective organisations and go to various lengths to prevent them from getting exposed.
The Departed is renowned for its intricate plot, filled with twists, moral ambiguity, and a palpable sense of danger. Scorsese expertly navigates the complex web of loyalty, deception, and identity, creating a relentless pace that keeps viewers on the edge of their seats.
One of Scorsese’s most commercially available pieces of crime cinema, The Departed boasts of a heavyweight ensemble which includes Jack Nicholson, Matt Damon, Mark Wahlberg and Leonardo DiCaprio, among others. In his third successive film with Scorsese, DiCaprio, as the hot-headed Costigan, brings a wonderful emotional depth and maturity to his character. Fiercely entertaining, The Departed is simply a thoroughly enjoyable piece of crime cinema, reminding audiences just how fun Scorsese can be when he’s in the mood.
“When I was your age, they would say you could become cops or criminals; today what I’m saying to you is this: When facing a loaded gun, what’s the difference?”
10. The Last Temptation of Christ (1988)
Termed as ‘blasphemous’ by devout Christians, The Last Temptation of Christ is based on Nikos Kazantzakis’ controversial novel of the same name. Jesus is a humble carpenter who, seen as the son of God, is roped in by Judas to rise in rebellion against Roman oppressors despite his claims that only love, not violence, could lead to salvation. The burden of being the Messiah torments him and leads to self-doubt and anguish.
The film delves into the inner struggles and human complexities of Jesus, portraying him not only as a divine figure but also as a man grappling with doubts, fears, and desires. It focuses on his internal conflicts, including temptations and uncertainties, presenting a more humanised and relatable portrayal of the religious icon.
The film humanises Christ, opposing the Bible’s rendition of his divinity, allowing the protagonist to have human emotions such as fear, doubt, lust, reluctance and depression; Christ is easily tempted and has sinful sexual dreams. This portrayal led to an outrage among religious folk, but, for a director who has mastered his art in films based on organised crime, this religious drama is jaw-dropping, with Willem Dafoe’s brilliant and vulnerable portrayal of Christ bringing out the distress, misery, anguish and anxiety at the film’s core.
“I’m the sacrifice… Forget everything else, understand that.”
9. Casino (1995)
Adapted from yet another Nicholas Pileggi novel, Casino revolves around Robert De Niro’s Jewish American gambling expert persona by the name of Sam ‘Ace’ Rothstein, who is entrusted with overseeing the operations at Tangiers Casino in Las Vegas. The trials and tribulations faced by Ace include operational difficulties due to subsequent Mafia involvement, which leads to the further disintegration of his relationships and marital life, with a rapidly changing Las Vegas as its background.
Scorsese’s direction in Casino is marked by his trademark style: dynamic camerawork, vivid storytelling, and an expertly crafted narrative that immerses viewers into the glitz and seedy underbelly of Las Vegas. The film’s pacing is intense, capturing both the thrill of the casino world and the darker, violent aspects of organised crime.
A fine blend of violence, tragedy, mishaps, exuberance, jazz and humour, Casino is a delicately balanced masterpiece. Supported by a brilliant ensemble including Joe Pesci, James Woods, Sharon Stone, Frank Vincent, Kevin Pollard and others. De Niro, as the principal character, delivers an outstanding performance as the troubled casino handler. A tale of American opulence and excess, the exhilarating performances take Scorsese’s carefully crafted humorous and jazzy film forward.
“For guys like me, Las Vegas washes away your sins. It’s like a morality car wash.”
8. Mean Streets (1973)
After being vehemently criticised after his film Boxcar Bertha for spending a year “making a piece of shit”, Scorsese decided to base his new narrative on his personal experience as a boy growing up in Little Italy, New York City. It is not a gangster film but one about living in sin and the dread of eternal suffering as a sinner dying without redemption. It is Scorsese’s most personal, with the atmospheric tension and filth heightened by electrifying performances from the ensemble, especially Harvey Keitel and Robert De Niro.
Mean Streets is a ‘slice-of-street-life’ film based in Little Italy which focuses on Charlie and Johnny’s escapades as they navigate through the ranks of the Mafia. Charlie is caught between his Catholicism and loyalty to his uncle, while his friend Johnny Boy is neck-deep in debt. It is Scorsese’s biographical tale of Little Italy’s nameless sons and daughters lurking in the shadows.
Arguably, the movie is characterised by its raw, unfiltered portrayal of urban life, capturing the gritty ambience of the streets and the complexities of interpersonal relationships within the tight-knit community. Scorsese’s use of handheld cameras, kinetic editing, and a vibrant soundtrack infuses the film with a sense of urgency and authenticity.
“You don’t make up for your sins in church. You do it in the streets.”
7. Killers of the Flower Moon (2023)
Many of Scorsese’s great epics were confined to the 20th century, with the director instead preferring more bright, bold and loud movies in the new millennium. However, Killers of the Flower Moon was a throwback to the Scorsese that the world of cinema fell in love with, telling the story of the Osage tribe who were savagely murdered all in the name of the oil their land happened to be on top of.
The story is set in the 1920s and centres around a series of killings of wealthy Osage Native Americans in Oklahoma. These murders occurred after oil was discovered on their land, leading to an influx of wealth for the Osage people. As members of the community began to die under mysterious circumstances, the case garnered national attention and led to one of the FBI’s first major homicide investigations.
Starring Robert De Niro in his tenth collaboration with Scorsese, alongside Leonardo DiCaprio, Jesse Plemons and Lily Gladstone, Killers of the Flower Moon is a delicious piece of visual cinema that is utterly captivating from start to finish in spite of its broad runtime. An essential piece of cinema that chronicles the rising capitalist growth of the United States, this is Scorsese at his very best.
“Can you find the wolves in this picture?”
6. Alice Doesn’t Live Here Anymore (1974)
After Alice Hyatt’s husband, Donald, dies in an auto accident, she decides to move across the south-west to reach Monterey, California, to realise her dreams of being a singer as well as seek a better life with her precocious and talkative preteen son, Tommy. The duo goes through a variety of misadventures before settling down and finding true purpose in life.
Alice Doesn’t Live Here Anymore is a character-driven narrative that delves into Alice’s experiences as she navigates life’s ups and downs, grappling with the realities of being a single mother, seeking employment, and navigating relationships. Through her encounters with different people, including a variety of men she meets along her journey, Alice discovers her own strength and resilience.
Alice’s frustration as a young woman burdened with motherhood and the pressure to sustain themselves is palpable. Scorsese, who has been criticised for the lack of female representation in his films, presents this story with a wonderful female protagonist in the centre. Perceptive and funny, the film paints the painful predicament of American women in the ’70s. It may just be the director’s most underrated movie.
“I’m out there, spending too much money on clothes… trying to look like maybe I’m under 30 so somebody will hire me”.
5. The King of Comedy (1983)
A satire accentuated by dark comedy, The King of Comedy film revolves around Rupert Pupkin, a budding comedian who hosts imaginary talk shows in his mother’s basement and idolises the celebrity talk show host Jerry Langford, who, he is convinced, will provide him with a big break in the TV industry. However, Langford rebuffs Rupert, which instils an obsession to stalk the former in the latter’s mind; subsequently, Rupert kidnaps Langford and, as a ransom, demands a guest spot on his show.
The film offers something of a biting satire that critiques the shallow nature and obsession with celebrity culture, portraying the lengths to which individuals might go to achieve their 15 minutes of fame. It challenges the audience to consider the blurred lines between admiration, delusion, and the dark side of the entertainment industry.
In his fifth partnership with his beloved Marty, Robert De Niro plays the deranged sympathetic psychopath, Pupkin who wants nothing more than recognition from his idol. The film is a macabre satire on the hero-worship of celebrities and the effects of media culture, which includes the perverted and voyeuristic ambition of aspiring stars motivated by the success stories of their idols. Hilarious yet poignant, Rupert’s unsettling cheerfulness and indefatigable obsession in the prescient screenplay stays to haunt the viewers long after the film is over.
“I look at my whole life and I see the awful, terrible things in my life and turn it into something funny.”
4. After Hours (1985)
When the quintessential everyman Paul Hackett meets Marcy in a Manhattan cafe, he is smitten by her eloquence. He takes a cab to her apartment in the seedy area of Soho; his $20 bill flies out of the window, which ominously predicts the series of surreal, bizarre and awkward situations he gets himself embroiled in, meeting quirky and dangerous people while constantly trying to return to the safety of uptown.
After Hours is famed for its innovative storytelling, utilising a real-time narrative structure that heightens the sense of urgency and chaos. The nocturnal setting of New York City becomes a character itself, contributing to the film’s sense of unease and unpredictability.
Paul is sometimes way worse than an everyman, which removes the audience’s support. His predicament does not evoke sympathy; however, the crazy and colourful characters are indeed intriguing. This is a classic Scorsese odyssey through the seedy downtown tinged with energy, paranoia and black comedy, with the protagonist constantly emasculated by the overbearing female characters in the film. A hilarious, thrilling and, in many ways, a very un-Scorsese type of movie, After Hours is an utter gem.
“What do you know, man? A stereo’s a stereo. Art is forever!”
3.Goodfellas (1990)
Adapted from Nicholas Pileggi’s book Wiseguy, Goodfellas revolves around the lives of three pivotal figures and their lives as a part of the 1960s and ‘70s New York mafia. It follows the journey of a young, petty criminal, Henry Hill, who, along with his friends, the jack-of-all-trades Jimmy Conway and the intimidating Tommy DeVito, ascends the organised crime ladder to live a life of luxury. Unbeknownst to him, the brutalities soon cause a sea change in their lives, bringing into the picture the question of survival.
Goodfellas presents a raw and unflinching portrayal of the criminal underworld, depicting the allure of power and wealth juxtaposed with the brutality and moral decay inherent in organised crime. Scorsese’s direction is marked by its kinetic energy, utilising frenetic camera work, a pulsating soundtrack, and a non-linear narrative to immerse viewers into the world of the mob.
An obvious fan favourite, this film made Scorsese the household name he is. The movie, which questions the extent of willful ignorance on the part of an individual towards his compatriot’s immorality, boasts an incredible ensemble comprising Robert De Niro, Joe Pesci, Ray Liotta, Lorraine Bracco and Paul Sorvino. The rehearsals led to a variety of improvs and ad-libs, which gave the actors creative freedom to express themselves, and the best ones were retained in the improvised script.
“Never rat on your friends and always keep your mouth shut.”
2. Taxi Driver (1976)
Travis Bickle, a Vietnam War veteran and now a taxi driver, leads a lonely and depressing life in the morally bankrupt New York City, and he is infatuated with a campaign volunteer named Betsy. Disgusted and appalled by the degradation of New York City, plagued by forced prostitution, corruption and dysfunction, Travis’ descent into madness and frenzy motivated by violence causes him to be obsessed with the assassination of the presidential candidate as well as the man who pimps out Idris, an underage prostitute and his friend.
Scorsese’s direction in Taxi Driver is marked by its dark and atmospheric portrayal of the city he called home, capturing the grit and grime of the urban landscape. The film’s narrative unfolds as a psychological character study, delving into Travis’ disturbed psyche and the mounting tension that leads to a shocking and explosive climax.
Scorsese is at his best in this riveting film. Brutal violence and jarring characters add to the dysfunctional atmosphere that pulsates thanks to Robert De Niro’s outstanding and memorable performance as the angst-ridden Travis Bickles. Travis attempts to be the “real rain” that will “wash away all this scum off the streets”, making the movie a brilliant yet nightmarish masterpiece, which will surely quench the thirst for madness and violence in the neo-noir aficionados.
“You talkin’ to me?”
1. Raging Bull (1980)
As he rises through the ranks to bag the crown, Italian-American middleweight boxer Jake LaMotta falls in love and marries a beautiful girl. However, overcome by psychological demons like self-destructive and uncontrollable rage, sexual jealousy and gluttony, along with his general animosity, his personal relationships slowly come undone.
Scorsese’s direction is notable for its black-and-white cinematography, which contributes to the film’s raw and gritty atmosphere. The use of dynamic camera work during the boxing sequences immerses the audience in the intensity and brutality of the sport, while the film’s slow-motion shots and evocative editing create a visceral experience.
The brutal fight sequences coupled with a man’s wounded ego causing rifts in his relationships weigh heavily; the film is poetic and psychologically scarring simultaneously with an intense and brutal script by the legendary Paul Schrader. Joe Pesci rose to prominence with this film as Jake LaMotta’s supportive brother, Joey, who tries hard to help his brother battle his inner demons. Jake’s slow and steady emotional degradation leads to his isolation; the beautiful monochromatic cinematography brilliantly captures the depressive and gloomy atmosphere that pervades the screen.
De Niro is explosive as the unsympathetic hero whose insecurity and obsession lead him to crave control over events inside and outside the boxing ring. As well as Scorsese’s best movie, LaMotta is also his most extraordinary character to date.
“If you win, you win. If you lose, you still win.”
