Scorsese’s 21st century got off to a rough start with “Gangs of New York,” a passionate project that should have been made two decades earlier. It was an occasional excellent film but stalled considerably as the focus shifted to Leonardo DiCaprio and Cameron Diaz. “The Aviator” is a beautifully mounted biopic, but it’s not until Scorsese wears brass guitars and plays in cheap chairs with “The Departed” that he discovers her. his poetry. That’s how he won his first Academy Award for Best Director.
His next film, “Shutter Island,” a psychological thriller from Bostonian actor Dennis Lehane, was far superior. It blends the horror of Samuel Fuller’s “Shock Corridor” with Michael Powell’s tragedy and Emeric Pressburger’s “Red Shoes.” Powell’s influence has hit me hard. I thought back to shelling out $20 for a VHS copy of “Peeping Tom” as a college student and realized that Scorsese was paying the price with my education.
This education continues.
Scorsese’s works with World Cinema Project focuses on the restoration and promotion of under-seventeen masterpieces by directors such as Ousmane Sembène, Edward Yang and Shadi Abdel Salam. Subscribing to the Criterion Channel will give you access to these movies, and believe me, you’ll be amazed how instant these movies are.
No one has deepened my love and appreciation for cinema more than Martin Scorsese. My mind spins thinking about every movie he puts me in: the names of a few, “Force of Evil”, “Umberto D.”, “A Face in the Crowd”, “Senso” and “Detour. ” Just as often, someone I follow on Twitter discovers “A Matter of Life and Death” by Powell and Pressburger, and my heart aches.
Scorsese did this. No one can touch him.
https://www.slashfilm.com/1044493/why-martin-scorsese-is-our-greatest-living-filmmaker/ Why Martin Scorsese is our greatest living filmmaker