The movie Martin Scorsese called “very strange”
Martin Scorsese is undeniably one of the leading lights of cinema. Over the years, his genius has spawned classics that have challenged, delighted, and provoked audiences around the globe. From the blood-soaked streets of Taxi Driver to the vibrant, gritty corners of Gangs of New York, Scorsese’s films often venture into the depths of the human psyche, exploring both its darkness and its brilliance. Yet, amidst his vast collection of movies, there’s one that even the legendary director finds a bit… out of the ordinary.
While Scorsese is no stranger to pushing boundaries and taking risks, a particular film seems to linger on his mind as a unique endeavour. It’s not necessarily about the subject – his filmography has covered countless strange and bizarre topics. It’s more about its entire creation process—how it was conceived, shot, and finally projected for the world to see.
That’s not to say, however, that the movie’s subject isn’t strange: 1982’s The King Of Comedy saw a frank departure from his earlier style, transporting his trademark, socially inept anti-hero from a world of violence to one of fame, stand-up, and cringe-worthy personal encounters. It also introduced an element never seen again in a Scorsese film: the inclusion of a famous celebrity, Jerry Lewis, playing themselves. This concept of a longer stalking a famous chat show host, along with the specific brand of humour and tension forged by Scorsese, would go on to be cited as a major inspiration for Todd Phillips’ 2019 work, Joker.
Drawing from the insights in the 1989 book Scorsese on Scorsese, we get a window into the mind of the director during the making of The King of Comedy. Scorsese openly discusses the challenges and peculiarities he faced, admitting, “The whole film took 20 weeks to shoot… But I don’t feel anything went wrong in front of the camera.” Despite the lengthy shooting period, Scorsese points to the energy and dynamism between the calls of “Action” and “Cut”. According to Scorsese, everything that unfolded in those moments felt right, with everyone from Jerry Lewis to the supporting cast delivering “terrific” performances.
Yet, the nature of the project itself was, in Scorsese’s words, “very strange”. One scene in particular, where Robert De Niro’s character Rupert Pupkin unexpectedly appears at Jerry’s residence, was not just a challenge to shoot but emotionally draining for all involved. This scene took two weeks to complete and was “so painful because the scene itself was so excruciating.”
An explanation for the “strange” nature might be in how Scorsese’s vision for The King of Comedy was heavily influenced by the reactions to his earlier work, Raging Bull. Praised for its aesthetic appeal akin to films like Days of Heaven, Scorsese felt the push to try something different. He shares his desire to emulate a “1903 style”, reminiscent of Edwin S. Porter’s The Life of an American Fireman, with its distinct lack of close-ups. If his previous work had been one where “you could take every frame and put it on the wall”, he made sure that the cinematography on his next venture would be much plainer, placing a heavier emphasis on the characters and the story.
While The King of Comedy might not be the first film that springs to mind when thinking of Scorsese’s most iconic works, it offers a fascinating study of a master at work. Does it get outshone by the director’s other works? Most certainly – but there’s something incredibly rewarding about immersing in the “strange” side of such an accomplished maestro.
