Martin Scorsese e seus Bons Companheiros | Irmão Normal 17A (Cinema, Análise, Review, Crítica)

Martin Scorsese e seus Bons Companheiros | Irmão Normal 17A (Cinema, Análise, Review, Crítica)


NORMAL BROTHER (spoilers free) One word defines the Scorsese films: Aggressive. And Goodfellas is no exception to that, because this is one of those films that define its director, who lived as a child near Little Italy, New York, where almost all his films happen, being the son of Sicilian immigrants who went to earn a living in America and who did not have much study, with Scorsese growing up in a house without books, and he had asthma, so he almost never goes out, with the exceptions being when he went to church with his family and to the Cinema when he was going to stroll, and what did he decide to be? Father, but soon he realized that the true passion in his life was made when he was going to watch the great classics of Western, the Musicals and the Gangster Movies, who are his trademark in his great films about the Mafia, because in his childhood and adolescence he realized that many of his father’s friends had those dubious professions and his life always secret, which brought him all the experience for when he makes a film about the Mob, do with propriety, because he knows what he’s talking about. And it was that sparkle in your eyes that Scorsese had when he read Nicholas Pileggi’s book, called Wiseguy, who romanticizes the true story of Henry Hill in the Mafia, the book that Goodfellas is based, with Scorsese calling Nicholas Pileggi to be the screenwriter along with him, who had never written a script before, writing this while listening to Scorsese’s ideas, and one of them was the opening scene, you’re not even introduced to the characters yet, because this scene was in the middle of the book, with Scorsese leading her to the beginning, because she would define the film as a whole, with the characters not being scared to have someone unknown in the trunk of the car, but that the person was still alive, when the music starts and The Goodfellas is one of the best films ever made of Mafia, because he does not have a vision of the Don until the gangster, but rather to the contrary, being even a deconstruction of the Mob Movies, because neither of the Mafia they are, with the book being based on the testimony of an ex-gangster who was half-Irish, so that he could not be a man-made of the Family, who had to be wholly Italian in decency. This story is not only about the life they lead, but about the humanity of their characters, with friendship, family, parties and weddings. A life that Scorsese knows well, as he shows in one of his documentaries called … As he listens to his parents’ stories about the traditions of Italian culture, such as the importance of food on the table and the family, with Scorsese delving deeper into this world of Goodfellas by the details of the characters’ lives, opting to use the narration in the scenes, purposely bringing a documentary aspect to the film, because history is based on actual events, but not turning a false documentary, that grew at that time, but giving us scenes of real brutality, without using common editing tricks in such cases, and also in focus to show us the subtleties of the scenes and the behavior of the characters, which can often go unnoticed, or in pauses that are made in the middle of the scenes that show moments that marked the life of Henry, how to start working for the gangsters of your street, your father beating him because of it, the first time he was arrested, and also not afraid to stop a scene to tell you what the character realized at that time, and you know why? Because this is important for you to delve into that plot. Martin Scorsese is one of the best directors who know how to direct an actor to the scenes, leaving them always focused on their characters, which gives them the creativity to improvise, like Joe Pesci playing Tommy in this famous scene, in which he intimidates Henry coming out of a conversation that he was telling a joke to this: This happened to Joe Pesci in real life, except he was on the other side of the situation, with Scorsese putting that idea of scene in the film because it fits in with everything that Henry Hill was really talking about his life in the Mafia, that any such aggression could happen at any moment. In these improvised scenes he likes to leave an open plan to get several expressions of the characters around those involved, as in the house of Tommy’s mother, who happens to be Scorsese’s mother too, who improvises in most of the lines, bringing that familiar respect I said before, even taking the life they live. The script does not have the basic construction of 3 arches for the structure of the story, but a grandiose construction of scenes, with Scorsese even saying he would like the film to be a gigantic trailer telling the whole story, that throughout the movie, has “only” 10 deaths that are shown on the screen, and this may be a teaching for aspiring writers like myself, of which it is better every death in the film to be remarkable and additive to the narrative, with a unique brutality, as in Goodfellas, than simply having a gratuitous onscreen violence, it is best left to the audience to imagine the size of how they are made. Scorsese knows very well how he will perform each of his scenes and what will be their dimension, like when Henry gets under the effect of cocaine, in which he leaves the plans sequence aside and begins to have quick cuts and a quick camera, also letting us know what is happening at each moment of that day, putting us into the paranoia that Henry is entering, also with the change in style of filming when it arrives in 60’s, 70’s and 80’s, with the timeline of the film’s history being gigantic, going through more than 30 years, and the aging of the characters over the decades is very well done with De Niro playing Jimmy, also Joe Pesci and Paulie. Nicholas Pileggi while writing a scene from De Niro’s specific script, saw Scorsese arrive and say: “Writes Cream,” then he did not understand and Scorsese said to just note that he could not explain it now, which was just an idea, with him talking after he could imagine the whole scene in the bar with the performance of De Niro, smoking the cigarette, with eyes closed, showing the turning point of the character and the decisions he’d made that fit perfectly into that guitar riff. The Goodfellas has many peculiarities that the Scorsese brought of all his experience and study on Gangsters Movies, as he tells in one of his documentaries, called A Personal Journey with Martin Scorsese Through American Movies, telling later in interviews that was inspired by the film The Public Enemy of 1931 in the scenes of extreme violence and brutality with joyful songs playing in the background, also in Scarface, not that of Al Pacino, but in the 1932 classic with the relationship of audience empathy with the charisma of the gangsters of history, in the French film of 1962 called “Jules et Jim” (or Jules and Jim), which brought the idea of the scene to stop with the static frame and narration as another way of telling the story. And the biggest being “The Great Train Robbery,” a 1903 film, which ends with a scene that Scorsese honored with Joe Pesci also shooting at the camera. Goodfellas was the inspiration for many movies and series of gangsters that were made after him, like Sopranos, in which Scorsese later worked on a series also on HBO with Terence Winter, who was the writer of Sopranos. One of the most expressive scenes of this film is the plan-sequence of the Copacabana Bar, which was described in a few lines of the book, with Nicholas Pileggi never imagining that his words could become such an artistic scene and that defines the whole universe of a character, with all the doors opening for him, coming in from the back instead of waiting to get in, knowing everyone on the way, everything he wanted to become, until they set up a table in front of the improvised stage especially for him to watch the show, and this scene speaks a lot also of Karen, who knows Henry and stays with him despite his infidelity or criminality, because she was an common person, and now she lives on the luxury of gangster life that Henry has. The film has several themes, with the most visible being a perverse side of how to conquer the American Dream, which Henry Hill pursued and fought to achieve throughout his life. by DOUGLAS MATOS That was part A of this video, because I wanted to talk about Scorsese’s two biggest Mafia movies, which are Goodfellas and Casino, but it would not fit all in one video. If you like, share the video with your friends for the channel to grow,
INSTAGRAM: @CANALIRMAONORMAL with me being able to bring more videos like this every week.
INSTAGRAM: @CANALIRMAONORMAL And next week I will continue talking about how Scorsese arrived at its apex with Casino.
INSTAGRAM: @CANALIRMAONORMAL You can help by translating subtitles, or correcting them.

10 thoughts on “Martin Scorsese e seus Bons Companheiros | Irmão Normal 17A (Cinema, Análise, Review, Crítica)

  1. Muito bom o vídeo… Detalhe pouco notado por muitos, o Henry na sua essência jamais seria um gângster, por mais chato e errado que ele seja, ele é o único o filme inteiro que não mata ninguém, mostrando que ele é o mais fraco, não só por isso mas também por suas decisões ao longo da história.

    A sequência da morte do Batts, dividida no começo e no meio, é a melhor cena do filme, pra mim.

  2. Fala aí! Seu canal realmente tem um conteúdo muito bom, e eu me surpreendi ao ver que vc tem tão poucos inscritos! Aqui vai um ótimo tema de vídeo: Assim como no meu canal: Stop Motion

  3. Ajude a traduzir ou corrigir as legendas desse vídeo: https://bit.ly/2t3PnBK
    Help translate or correct captions for this video: https://bit.ly/2t3PnBK

  4. A possível apologia ao crime varia conforme a leitura ou a percepção do espectador, ainda sim é certo que em Os Bons Companheiros o cineasta apresenta um retrato nítido sobre os labirintos hierárquicos do crime, as condutas excessivas de seus integrantes e as penas violentas que líderes brutais aplicam contra quem desvia de caminhos pré-definidos.
    Outros recursos narrativos (hoje datados, porém ainda marcantes) são os close ups congelados, para delimitar a tomada de consciência ou a conclusão de alguma ideia por parte dos personagens, além dos discursos do protagonista endereçados diretamente ao público/câmera. Técnicas semelhantes são utilizadas em Cassino (1995) e atualizadas em O Lobo de Wall Street (2013), obras que igualmente tratam sobre os tentáculos do crime organizado.
    Ao final de Os Bons Companheiros, Henry é penalizado pelos comparsas, ainda sim obtém perdão judicial, fim semelhante em Cassino e em O Lobo de Wall Street– posicionamento que rendeu a Scorsese críticas relativas a uma suposta condescendência com (ou glamorização de) criminosos.

  5. Faz tbm dos filmes | Cassino | Scarface | O Pagamento Final | Donnie Brasco | e um especial ROBERT DE NIRO …
    Já cheguei de like e inscrição

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