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Birdie Num Num looks at Scorsese's BRINGING OUT THE DEAD
Hey folks, it's Harry here with a long time spy that we don't get to hear from near enough for my tastes. I've been a fan of Birdie Num Num here for a while... But he seems to disappear into the ether, only to resurface with another intelligent look at whatever the film at hand may be. Both of the reviews that we have recently had from AICN regulars (John Robie and that weird ol Segue Zagnut fella) liked many pieces of the film, but didn't like the whole. Both reviews provoked me to want to see the film for myself. And now here's a positive that reads the film a bit differently. There is a built in problem in being Martin Scorsese. Each and every film is supposed to be... BRILLIANT. But Scorsese is the type of filmmaker that goes into each film with a specific style and goal to the endgame. For me... Scorsese makes films that even if you were to turn all sound off... I enjoy his films. If you have nothing but the sound... I enjoy his films. They are crafted and intelligent... and I can't wait to see this.. his latest film.
I, too, saw BOTD at Paramount last week. And while I do think it's a
somewhat flawed film, I also think it represents some of Scorsese's best
work since GOODFELLAS and will more than please his diehard fans out there.
Just don't expect perfection.
First thing to remember: this is a "for hire" job. The last one of these
Scorsese did was COLOR OF MONEY. While that film has its fans, I don't
think anyone would disagree with the fact that Scorsese seemed
straitjacketed with that piece. He did a thoroughly professional,
craftsmanlike job and got as good a performance out of Tom Cruise as anyone
has since (I haven't seen MAGNOLIA yet), but the film lacked inspiration
and the feverish risk-taking Scorsese experiments with in his ballsier
films.
BRINGING OUT THE DEAD is ballsy as hell and takes risks in spades. The
risks don't all work (hence the film's grab-bag feel and sometimes
inconsistent tone), but on a sequence-to-sequence basis, it's often
stunning. I stress the word "sequence." What do we all love about
Scorsese's best films? The extended episodes and sequences. Remember the
"I can't pay him this Tuesday" sequence from MEAN STREETS, or the
Travis/Sport argument in TAXI DRIVER, or the USO pickup in NEW YORK NEW
YORK, or the "hit me in the face, you fuck" conversation in RAGING BULL, or
Rupert visiting Jerry's house in KING OF COMEDY, or "what's so fucking
funny" from GOODFELLAS? These are all beautiful pearls that stand out from
the films in which they're contained. They're episodes with tension, build
and memorable, quotable dialogue. Now name me one memorable sequence from
CASINO or KUNDUN. You can't, because those movies don't have any
sequences. CASINO is an endless montage under narration -- we don't give a
shit about anyone in it because the film refuses to slow down long enough
to let the audience catch its breath and SEE the characters unfolding in
action, as opposed to BEING TOLD about it; KUNDUN, while stunning, is more
akin to something like KOYAANISQUATSI.
Now back to BOTD -- There are at least 5 or 6 extended episodes here that
are gems and proudly hold their place in the Scorsese pantheon. The
cinematography is exquisite and unusually restrained for the normally
show-offy Robert Richardson (minimal use of his trademark "overhead
overexposed spotlight hanging from nowhere for no reason" look here). The
use of music (save for the dreadful choice of a 10000 Maniacs song during
an otherwise potentially moving romantic scene) is awesome. There is a
wonderfully droll sense of humor in this film that is new to Scorsese's
work, as well as surreal touches reminiscent of David Lynch. Nic Cage is
the most restrained he's been since LEAVING LAS VEGAS and the supporting
cast, particularly Ving Rhames, is exemplary.
So why do people dislike this movie? Because it's not perfect? What movie
is these days? The biggest problem is that Scorsese is never quite able
to reconcile the assumption that he's *SUPPOSED TO BE* making an "ordinary"
Hollywood film with pat set-ups and payoffs and melodramatic threads, with
the reality that he's ACTUALLY made an impressionistic art film, more
akin to the works of screenwriter Paul Schrader's idol Robert Bresson than
most contemporary audiences are going to want to handle.
My advice: don't worry about how everything does or doesn't add up and
what threads are left dangling or what set-ups seem lame or the fact that
on the surface there's not a lot of tension. Instead, surrender to the
film and experience it -- remember how many critics complained about
APOCALYPSE NOW's lack of plot, tension and focus when it first came out?
Structurally, this film is similar. It doesn't really have a plot, rather
it's more of a hallucinatory version of a 3 DAYS IN THE LIFE OF... type
film. It's been over a week since I've seen it and I've found that it is
sticking with me. Also, let's kiss the ground and cheer for the fact that
Scorsese has rediscovered the joy of letting scenes play out and build with
good dialogue and that he's decided to let his amazing actors ACT ON
CAMERA, instead of in the ADR booth. Like this movie or hate it, there's
no way you can say it's not daring and ambitious.
BIRDIE NUM NUM
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So what's the movie about?
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i totally have to agree. Although i loved goodfellas, Casino's memorable moments were in it's music/action "sequences". I mean shit, don't tell me the first time you heard RObert Dinero talking about the Casino, saw the slot machines rolling onto 7's, and heard "hoochie Coochie man" "on the 7th hour, of the 7th day..." it didn't send chills down your spine. I mean you knew, w/o dialogue or other 'character exposition" that this dude ran a tight mother fucking ship. In fact, i think casino was a much more experimental film that goodfellas, but yeah I can't quote it as well. (but what about that scene where they pop the guys eye out with a vice, yow!)
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What was so bad about Casino? I mean, sure, it's not as good as Goodfellas, but it's still damn good. The problem for some people, IMHO, is that it gets compared to Goodfellas, and thus suffers. If you look at it by itself, it is still very good. All the players do very well, and while it is LONG, it maintains a steady pace and has some fascinating bits to it. I loved being able to learn about the casino industry, and the vice scene still chills me. I'm looking forward to BOTD. When's the release date?
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There's nothing like a three-wheeled Morgan and Claudine Longet next to you...unless you're a world famous skier and she has a gun!
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The reason why I will see "Bringing Out The Dead", just like any other Scorsese film, is because he constantly experiments with his own approach to film making. "Casino" - which I will lend more support too - took voice-over narration to a whole new level. The constant verbal sparring between Ace and Nicky (who provides another narration from beyond the grave) is so audacious. I couldn't believe that they never shut up for one minute. The use of dissolves is great - they're used quite a bit like the jump cuts linking scenes in "Cape Fear." And how about employing Freddie Francis as cinematographer on that film - a complete change of pace for Scorsese. I could go on and on but the genius of Scorsese is ranted about enough.
I will add this: "Age of Innocence" is Scorsese's best film of the 90's. Yes, it destroys "Goodfellas" in comparison. It's a shame that most people refrain from watching it due to it's lack of firearms, cursing, and Italians. -
...is a GREAT movie. I agree with the above poster; the only reason it gets trashed is because it's often compared to GoodFellas (same cast; narration format). Casino has a few great sequences...along with the one mentioned above, there the great casino intro scene (paraphrasing): "the pit bosses watch the dealers, the floor managers watch the pit bosses and the eye in the sky watches them all"
A Scorsese epic.... -
The beating of Pesci and his brother in the corn field -- disturbing as fuck. The changing of the cars to avoid the FBI and meet brute out in the desert, The intro of VEGAS through the clouds as an island of light in a black sea of night. The "eye in the sky" seguing into Ace seeing Ginger for the first time and falling in "love at first sight". The morse code cheating bust complete with semi-opaque iris shot "you can keep the money and get the hammer... or you can walk out". Nici refusing to leave the gambling table then thrashing Don Rickles with a phone. The Nici robbery montage. The pen in the neck attack "is that a little girl I hear crying". The destruction of Vegas and it's ressurection as disney land. Ace's variety show "I'm seen... I'm known". The huge redneck who won't take his feet off the table and is thrown out head first... then brow beaten like a little bitch by the midget Pesci. The classic title sequence etc. etc. On first viewing this movie did seem too similar to GOOD FELLAS but one viewing is not enough. Two is not enough. Scorsese took the visual and sonic style of GOODFELLAS and expanded upon it and heightened it ten fold. The first half sets up their world and the second half wallows in the shit pool they've created for themselves. Sure DeNiro and Pesci have played similar roles but McQueen, Bogart, Lee Marvin, Peter Lorre etc. often played similar characters repeatedly and directors like Ford, Mann and Huston, Dario Argento and countless other greats often explore the same themes from slightly different angles I don't hear anyone complaining about that. It's like composers playing variations on a theme. Give CASINO another chance... or eight.
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Eternal has the right idea. CASINO is *better* than GOODFELLAS. Read what I wrote on yesterday's BOTD article, and you can understand.
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I think Casino was better than Goodfellas. It showed us the story more than just telling it to us. Also, I do think Joe Pesci was too similar in both roles.
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From what I have heard Brining Out The Dead was so awful that The New York Time's Weintraub walked out at the screening. It seems that Scorsese is falling apart slowly. Kundun was the worst Last Emperor knock off I have seen so far. Comparing Kundun to Koyaanisquatsi is laughable. I wonder if this reviewer has even seen Koyaanisquatsi. However, it sure is refreshing to see that Nicolas Cage's family ties are still strong enough to get him work, despite the fact that he is a horrible over-actor. Say hi to your uncle for me you no talent hack.
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I'll just simply say that I liked Casino but any movie where Sharon Frigging Stone Turns in a better performance than DeNiro has to have at least a few teensy little problems.
Oh, and Eternal is eternally a nuisance. Try listening instead of waiting to talk. -
I'll probably see it, because the trailer intrigues me. Someday I hope to pick up a copy of that Peter Sellers gem at the flea market.:-)
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You say Weintraub walked out at the BOTD screening. If that's true then fuck that critic. The last thing I need is a critic that can't be bothered to finish a film...especially one by Scorsese. It seems that Scorsese is falling apart slowly? WHAT!?
"Kundun was the worst Last Emperor knock off I have seen so far? Congratulations, who are officially an idiot. I love how some people can only take one film on each foreign subject and then the subject is dead. If you really are taking the time to bust on someone like Scorsese...don't worry, better things are coming up...like Scream 3.
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