“Cinema of the Hero in Trouble” … Destinations that create their tragic characters
17 critical essays on Scorsese’s films and his life background
Sunday – 11 Dhu al-Hijjah 1443 AH – 10 July 2022 AD Issue no. [
Cairo: Hamdi Abdeen
In his new book, “Martin Scorsese’s Cinema in Crisis,” which was recently released in the Saudi Film Festival publications, Egyptian film reviewer Amir Al-Omari examines the film experience of the American director of Italian descent, which included 25 films. films and a number of documentaries. Before that, Al-Omari revised Scorsese’s life background, based on what was mentioned in his documentary film “Italian-American,” which is long behind-the-scenes dialogues that Scorsese filmed in 1974 with his parents in their small apartment, after he achieved “the first great breakthrough”. With his movie “Dirty Streets”.
The book included 17 critical articles on Scorsese’s feature films, including “Who’s Knocking on My Door”, “Violence Training”, “In the Dirty Streets”, “From Singer to Taxi Driver” and “The Predicament of Raging Bull”? En “Three Characters in Crisis,” “The Good Boys,” “Back to the Family,” “Terror Zone: Confrontation, Revenge, and Redemption,” “The American Dream: A Pyramid of Paper,” and “Gangs of New York : A History of American Violence. ”
Among the traditions that appear most in these films, as the critic writes, are the attachment to the family, his veneration and loyalty to family, the friendship that unites the children of small communities of Italian origin, the love of music and entertainment, the great interest in cooking and famous Italian foods, and the depiction of how the “badron” or big one became. The group or “godfather” is a substitute for state authority, a haven and a source of protection and security more than its multi-asset institutions. The rise of the “Badroon” character in the films is not only meant for the mafia’s top men, but the “big man” in general, who gives protection and becomes a refuge and refuge. This role emerged mainly as a reaction to the racism of other immigrant communities towards the Italians. The “Badroon” became a stereotypical role in Hollywood movies before it became an “icon” in the hands of the new generation of Italian directors who appeared in the sixties and seventies, or this “big man” evil, romantic or a mixture of the two.Where it seems that he is driven to evil on the basis of a fatal force from which he has no way of escaping.
Al-Omari points out that the characters in Scousei’s films do not start out of choices, but in successive fates and events, which make them find themselves and become an active party in them, sometimes without their will and with their desire in others. When she realizes that she has created a pyramid of sand and illusions that threatens to collapse and collapse, it appears in his hero “Charlie”, in the movie “Dirty Streets”, who tries to find a balance between devotion to friendship on the one hand, and loyalty to family and Catholic values on the other, but without giving up a life of crime in which he finds self-fulfillment, while flanking with his dreams of rising and achieving wealth in a society where he feels he is on the “margin”, and therefore he finds no escape to accept the work offered to him by the “initiators”, a job he “can not refuse”, according to The famous phrase from the movie “The Godfather”.
In Good Comrades, the protagonist is immersed in a life of crime from outside the Italian structure, the Irishman driven by his childlike fascination with his fabulous, crime protagonists. And when he sees that things are outside the realm of reason, logic, and control, and he and his small family are threatened with extinction, he decides to take the big “family,” the family of organized crime, of which he was not. betray. originally an organic part but was on the sidelines. This behavior, driven first by the idea of “heroism,” and to find an alternative that offers protection, ends with the desire to survive.
As for “Travis Bickle”, the hero of the movie “Taxi Driver”, he gives himself the task of freeing the world from evil with a Catholic religious motive that comes from his Italian origins, and so he goes on the path of bloody violence, as if under the influence of a hypnotic drug, and because of the lack that plagued his character in “Vietnam”. In other words, it was the events that made him and he did not, like most of the Scorsese film characters.
Thus, the conflict between the soul and the body, and the desire for a free life away from restrictions, and adherence to ethics and principles derived from the teachings of the Church, is evident in the midst of many of Scorsese’s films. , as his ingenuity. in drawing the characteristics of his characters the tragic aspect seems to be inherently emphasized to them, and the results arising from that conflict that It revolves around, between the good and the bad, and between the negative and the positive.
Al-Omari pointed out that Scorsese is a “New Yorker” director, precisely because the vast majority of his films are related to New York City, and are somehow a detail of it and its marginal neighborhoods, and a kind of “diary” associated with it, and what happens in its dark corners and streets that looked to Scorsese, a narrow area associated with the “Little Italy” neighborhood in which he grew up. Despite his penchant for New York, however, Scorsese has been out of New York many times. In his second film, “Boxcar Bertha,” which he directed from a screenplay presented to him by thriller producer Roger Corman, he returns to the Great Depression of the 1930s in the American South.
One of the most important features of Scorsese Cinema, according to Al-Omari, is his great interest in the long camera movement that the actors follow in a thoughtful way in all its details in terms of lighting, decoration, movement of people, the presence of accessories , its distribution, the distribution of blocks, and so on, all of which require thorough training beforehand. The second element is the acting element, which often requires long and exhausting training for the actor to play the role, especially since Scorsese worked in ten films with actor Robert De Niro, and then in six films with Leonardo DiCaprio. It should be noted that both are of Italian descent like him. As for the third element, it is the element of music that Scorsese uses, not only as a cover for the scene, but for dramatic expression, or to convey feelings about movement, performance, and situation within one scene, or series of scenes. strengthen. He is good with the choice of his music and songs because of his deep music culture. Sometimes it’s loud, violent or opera music, as he was able to turn scenes of violence, love and crime in his films into something like opera through the movement of the cameras, actors and music.
Al-Omari mentions that Scorsese is not only a film director who makes films, but rather a high-class intellectual, who knows the history of films well, and since an early age has been particularly interested in storing old films. restore and restore, and he has a recognized role in this field worldwide, through the institution that bears his name. He made one of the most important films that tells the history of American films, the movie “A Century of Cinema”, in which he tells how he fell in love with films and fell in love with American films from the forties and fifties. In addition to his interest, Scorsese is one of the largest American filmmakers with an interest in modern European films and film movements that have changed the face of filmmaking in the world, such as Italian neorealism and the French New Wave.