“Which would be worse: to live as a monster, or to die as a good man?” It’s a classic noir story of a gumshoe — or in this case, a U.S. Marshal named Teddy Daniels — and his partner investigating a mysterious disappearance that leaves our white knight in over his head.
the director’s breakthrough movie, opened in his hometown of New York City and announced a major new talent. Back then, he was part of a wave of young, movie-mad kids who wanted to turn Hollywood inside out and reinvent genres for a new era. Five decades later, Scorsese is now widely considered the greatest American filmmaker working today, as well as the torchbearer for keeping the concept of cinema as an art form alive.
The mix of semi-autobiographical elements, French New Wave influences, and what sounds like improvised banter between Keitel and his friends makes it feel very much like a student movie in the best and worst ways, however, and Scorsese later had to add in gratuitous sex scenes filmed in Amsterdam to secure a release. It’s ranked low here mostly because it’s so rough, raw, and remains more of a curio and completist fodder than anything else.
the filmmaker would check out the Rolling Stones on tour when they were both in the same town. I’ve got to get what’s happening on that stage on film, he told himself — so when the band booked New York’s Beacon Theater for a two-night benefit for the Clinton Foundation, Scorsese called in 15 cameramen and set up shop. What you get is the Stones doing their arena show in an intimate theater, no less and somewhat regrettably, no more.
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