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Martin Scorsese and American Film Genre by Marc Raymond, B.A

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Martin Scorsese and American Film Genre by Marc Raymond, B.A Martin Scorsese and American Film Genre by Marc Raymond, B.A. English, Dalhousie University A thesis submitted to the Faculty of Graduate Studies and Research in partial fultillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario March 20,2000 O 2000, Marc Raymond National Ubrary BibIiot~uenationak du Cana a uisitiis and Acquisitions et "IBib iogmphk Senrices services bibliographiques The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thése sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copy~@t in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts kom it Ni la thèse N des extraits substantiels may be printed or ohenvise de celle-ci ne doivent être imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This study examines the films of American director Martin Scorsese in their generic context. Although most of Scorsese's feature-length films are referred to, three are focused on individually in each of the three main chapters following the Introduction: Mean Streets (1 973), nie King of Cornedy (1983), and GoodFellas (1990). This structure allows for the discussion of three different periods in the Amencan cinema. The Introduction provides a review of the critical literature and explains why 1 have chosen to approach the films through genre. The focus on genre provides the opportunity to address the social significance of the films, an area that has been lacking in much of the writing on Scorsese thus Far. The first chapter looks at Mean Streets and its relation to film noir and the buddy film. Chapter Two deals with The King of Comedy as a satire. Chapter Three discusses GoodFellas as a gangster film that includes elements of the musical, comedy, and farnily melodrarna. The Conclusion briefly examines Scorsese's output since GoodFellas in order to bring the study up to the present. Thus, in short, the purpose of this study is to analyze selected works fiom Martin Scorsese over three different time periods in their generic contexts in order to show both the significance of the films and what the films Say about their historical period. iii Acknowledgments There are many people to thank for helping me in this study, such as the numerous professors and fellow students that 1 have leamed from and the many fnends who have supponed me along the way. In particular, 1 would like to thank my advisor, Chris Faulkner, for his comments and suggestions without which 1 would not have completed this project. Also, I feel 1 should thank the nurnerous first year students whom 1 have tutored over the last two years, who have had to put up with my Scorsese obsession through nurnerous clips. They provided me with a great number of helpful discussions that have enriched my knowledge of Scorsese and the American cinema. Special additional thanks to Andrew Wilkes. who helped enormously with the formatting and layout. Table of Contents Title Page Abstract Acknowledgments Introduction. 1 Chapter One . 16 Chapter Two . .40 Chapter Three . .61 Conclusion.. 84 Bibliography . .95 Introduction This study will look at the films of American director Martin Scorsese in their generic context. I have chosen to write about Scorsese for a number of reasons. Fint of all, his films excite me personaily more than those of any other director, and I believe that enthusiasm and interest in one's subject is important. Secondly, I find the litenturc on Scorsese to be lacking, and I feel that I cm make a useful contribution. Thirdly, 1 believe that a focus on Scorsese cm lead to broader discussions on American film over the past few decades. Although 1 will include most of Scorsese's feature-length films, three will be focused on individually in each of the three chapters: Mean Streets (1 973). The King of Comedy (1983), and GoodFellrrs (1990). This structure will allow me to discuss three different periods in the Amencan cinema. The main reason why 1 have decided to approach the films within their generic context is so that 1 can address the social significance of the films. Within the critical literature, there has been a tendency to neglect Scorsese's relation to genre. Thus, in short, the purpose of this study is to analyze selected works from Martin Scorsese over three time periods in their generic context in order to show both the significance of the films and what the films say about their historical period. The introduction will begin with a review of the literature on Scorsese thus far,' and then move on to discuss the methodology of this study. A good place to start a review of the literature on any particular director is to look at the issue of authorship. The writing on Scorsese featws a large arnount of matenal on Scorsese's films as an expression of 1 This revicw will not be all-inclusive. It will only point ta the major trends in the titcrature that i feel have dominated the criticism of Scorsese's films. his personality. Examples of this romantic approach to Scorsese's authorship can be found in book-length studies by Les Keyser, Marie Katheryn Co~elly,and Lawrence S. Friedman. The studies by Keyser and Connelly are for the most part career overviews, with Keyser in particular paying close attention to biographical and production details conceming Scorsese and his films. These books are for the most part quite pedestrian in their treatrnent of the films, relying heavily on analysis of characterization and narrative developments and very little on stylistic considerations. For example, Connelly's discussion of Mean Streets includes the following: "Sensible. responsible, and content with his life, Tony is a warm and giving person and a good fnend to ~harlie."~While the rest of Connelly's book is not as embarrassing as this particular line, it is indicative of an overall problem with these approaches, which is the lack ofany theoretical underpinning. Also, these studies tend to rely heavily on interview material, leading to the films being a product of the intentional fallacy. As 1 will discuss in the Brst chapter, this is a particular problem with the criticism on Meun Streers. The one full-length nudy on Scorsese that is successful is Lesley Stem's The Scorsese Connecrion. Part of its success can be attnbuted to her move away from a romantic theory of authorship, instead using Scorsese's films as a starting point for her psychoanalytic approach. The book is rather dificult to corne to terms with; it can best be described as part psychoanalytical, part phenomenologicai, part postmodern pastiche. Its strength lies in Stem's Fonnal analysis of parts of the films (or even of single shots), and her strong application of theory. This approach provides many usehl observations on how Scorsese's films operate. The book has its strengths and weaknesses in terms of individual chapters, but coincidentally she does not discuss Mean Streets or -neKing of Connelly, p.2. Comedy, and only briefly mentions GoodFelus in her short opening chapter. Also, although Stem focuses on the connections between Scorsese's films and the rest of cinema, her approach is one of postmodern allusiveness rather than the study of the films in relation to their particular genre system. Although the book-length studies have ken weak, there has been some useful writing on Scorsese in essays and articles. For instance, the work of Robin Wood and Robert Kolker are two examples of a much more productive use of authorship, the mode referred to by Stephen Crofts as "author as instance of politics adorpleasure."3 Both Wood and Kolker refer to Scorsese's work in the broader context of their respective book length studies of the New Hollywood. Kolker identifies his project as follows: "To investigate the work of certain individual filmmaken who are ai one time special in their style and representative of larger cinematic movernentdAKolker's authorship study is grounded in a recognition of the larger movement of the American cinema during the 1970s, unlike the work of Keyser, Comelly, Friedman, and even Stem. He also puts much more emphasis on the stylistics of the films, particularly mise-en-scene, giving his work much more value as film criticisrn. This preoccupation with stylistics leads Kolker ultimately to take an authorship-based approach to the New Hollywood: That Coppola got himseif caught up in enormous projects, with a concomitant failure of narrative and structural control, while Scorsese is content with smaller, more experimental works, is as much a matter of persona1 inclination and emotional response as anything else. 5 The fact that Kolker uses only five filmmakers in his study of the New Hollywood indicates his bias towards authorship as a critical approach. CroAs, p. 3 16. 4 Kolker, p. xii. 5 Kolker, p. 7. Robin Wood's book on the New Hollywood is much broader in its consideration, including many more films fiom many more filmmakers. Despite this, Wood's analysis of Scorsese is firmly entrenched in the traditional viewpoint of authorship, in which great art cornes from a great artist: GoodFellas, Cape Frar, The Age of Innocence and Casino reveal an artist in total command of every aspect of his medium - narrative construction, mise-en-scene, editing, the direction of actors, set design, sound, music, etc.
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