Martin Scorsese’s Top Ten Greatest Films
10. The Age of Innocence (1993) – Once cited as Scorsese’s most violent picture, The Age of Innocence (adapted from Edith Wharton’s acclaimed novel) is an exquisite looking film that harkens back to golden-age classical romances. Exploring the confines of social constructs and class, the forbidden romance between Newland Archer (Daniel Day Lewis) and Ellen Olenska (Michelle Pfeiffer) breads palpable chemistry burdened with shame. Scorsese is adept at telling tales of psychological torment and here we see it played out under the guise of love, as the impossibility of being with Ellen and the soul crushing civility he must endure instils acrimony towards the world that surrounds him. This portrayal of New York in the 1870s comes to life with astounding production and costume design by Dante Ferretti and Garbriella Pescucci, resulting in an immersive experience of this upper-class society. It is a shame The Age of Innocence remains as Scorsese’s only purely romantic film, as his take on romance is grand, yet, furtive. It also boasts one of Scorsese’s most powerful endings.
9. Raging Bull (1980)– A 20th century Shakespearean tragedy, Raging Bull is a brutally bleak analysis on the alienation of aggression. Robert De Niro is a force of nature as, Jake La Motta, one whose fragile masculinity leads to glory and devastation. A screenplay by Mardik Martin and Paul Shrader (Taxi Driver) and edited by now long-term collaborator and friend, Thelma Schoonmaker, it is a sublimely put together piece which still boasts some of the greatest boxing scenes in cinema. One of Scorsese’s greatest skills is his ability to conjure empathy for crooks, scoundrels and the downright villainous; in this mix, Jake stands as one of his most complex figures. Shot with effective composition, Michael Chapman’s black and white cinematography has made the film stand the test of time, setting it apart from other boxing titles and holding a position in Scorsese’s vast filmography.
8. After Hours (1985) – Set within a nightmarish, uncanny Soho, After Hours is an exhausting, excellent dark comedy - undoubtedly one of Scorsese’s strangest works. The film follows Paul Hackett, as he dares to stray from his daily routine after a chance encounter with the enticing Morrissey (Rosanna Arquette) at a local diner. Once Paul enters Soho, logic and sense fade behind him and a simple journey home becomes a Herculean quest. Paul’s unravelling from mild-mannered word processor to the most wanted man in Soho is exasperating, but equally as entertaining. Everything that can go wrong will go wrong in the inescapable purgatory of Soho, with each scenario escalating into new heights of the inexplicable. It’s quirky and temperamental ensemble of characters gives the film edge and a further feeling of unpredictability. Its frantic energy never lets up, and with a twisted sense of humour, After Hours, makes for a riveting ride.
7. The Irishman (2019) – Before its release, The Irishman was perceived as a spiritual successor to Goodfellas, a mobster reunion with Robert De Niro and Joe Pesci back together. However, from its opening shot, The Irishman immediately proves that it is a very different feature entirely. This is a deeply melancholic film, one that reflects on Scorsese as a filmmaker, utilising a familiar genre and his greatest muse, Robert De Niro, The Irishman becomes a meditation on time and mortality. De Niro gives, perhaps, his most underrated performance as Frank Sheeran, a man so soulless and emotionally barren he verges on becoming a horror villain, with Pesci too bringing a subdued, cold-hearted performance as Russel Bufalino. Director of Photography, Rodrigo Prieto, lenses the film with sophistication, applying a vibrant colour pallet that slowly drains as time goes on, emphasising the loss and moral decay that pervades in Frank’s life. The Irishman is a slow burn that builds to a tragic final hour, with the film’s final shot beautifully summating its themes profoundly.
6. Silence (2016) – One of Scorsese’s hidden gems, Silence, tells the tale of two Jesuit Priests, Father Rodrigues (Andrew Garfield) and Father Garupe (Adam Driver), as they journey to feudal Japan to seek their mentor who has seemingly abandoned the Catholic faith in order to save himself. Silence is a harrowing, yet deeply enlightening picture, one that questions the very idea of belief, what it means and even the consequence of doing so. Rodrigues and Garupe’s journey through Japan are filled with physical, psychological, and emotional pain as they bear witness to the slaughter of the Japanese Christian people. Rodrigues’ journey deeper into Japan mirrors Heart of Darkness, becoming an insular voyage as to how pride, ego and faith all entwine into one. Yet, even with such subject matter, Scorsese manages to lace the film with a progressive and hopeful idea. Faith is not one, confined narrow path, but its practice can be multifaceted and even personal. Silence is one of Scorsese’s unsung epics that is dense, but quietly moving, all the while boasting Andrew Garfield’s greatest performance to date.
5. The Last Temptation of Christ (1988)– Not to be confused with Mel Gibson’s, Passion of the Christ, The Last Temptation of Christ is Scorsese’s first overtly religious picture and still his most controversial film to date. Adapting Nikos Kazantzakis’ novel of the same name and pairing up with Paul Schrader once again, The Last Temptation of Christ is a bold interpretation of the Christian canon, portraying him not as a perfect being, but a struggling, deeply flawed man. Filled with rage, doubt, and even rejection of his status as the son of God; this take that leads to a deeply fascinating film, led by the terrific Willem Dafoe in one of his most effective performances. Harvey Keitel’s turn as Judas is also heart-breaking, turning the known traitor into something far more nuanced. The film has a transportive quality, all being shot on location in Morocco, with wonderful costume design by Jean-Pierre Delifer. While everyone knows the story of Jesus Christ, Scorsese delivers on an unpredictable, surprising third act that will leave you guessing until the final frame. Plus, David Bowie as Pontius Pilate is simply inspired casting.
4. The Wolf of Wall Street (2013) – Yes, yes, yes, The Wolf of Wall Street has become a film appropriated by business bros and YouTube hustlers who have misinterpreted Jordan Belford’s exploits as an ideal to strive towards. The Wolf of Wall Street is Scorsese’s most debauched film to date, one that makes the exploits of Goodfellas and Casino seem tame in comparison, where greed and honour amongst crooks is lost amidst the unlimited capital. Leonardo DiCaprio gives a devilishly charismatic performance, one that tricks its audience to gleefully indulge in the criminality and mayhem on screen, losing our own sense of morality as Belford and his ensemble corrupt us with their sleaze and anarchy. Yet, even in all the mayhem and obscene comedy, Scorsese never loses sight of his message, holding a mirror to the capitalist society that encourages and even celebrates the indulgent obscenities on display.
3. Goodfellas (1990) – Scorsese’s quintessential mob epic not only proved influential to the likes of HBO’s, The Sopranos, but unjustly branded Scorsese as a one-note filmmaker. Nevertheless, Goodfellas is an enthralling Icarus inspired tale of man striving to become something that he never could – “a made-man”. The luxurious, almost fantastical life of a gangster is perfectly juxtaposed with Scorsese’s realistic, vicious violence. Ray Liotta, Robert De Niro and Joe Pesci are iconic in their roles; but it is Lorraine Bracco as Karen Hill who most astutely reflects the corruption and pain attributed with the mob life. Scorsese’s ability to install empathy where it does not belong once again arises here, with the protagonist Henry Hill facing the bitter reality, that beyond crime is fate worse than death - the life of a “Schmuck”. Meticulously crafted, beautifully shot, pitch perfect performances and an airtight script makes Goodfellas an irresistible watch.
2. The King of Comedy (1982)– The film that nearly killed Scorsese’s career, The King of Comedy, now stands as a cult classic and one of his greatest achievements, whilst merging all his best filmmaking qualities. De Niro stars and delivers a performance that has aged like fine wine; one that feels completely alien to what we have grown accustomed to seeing in the actor. Rupert Pupkin feels small, awkward, and passive aggressive, showcasing De Niro’s range in garish three-piece suits. Much like his turn as Travis Bickel, there is a pitiful complexity to Rupert, he is deluded and dangerous, but Paul D. Zimmerman’s script manages to instil empathy towards someone so unhinged. Jerry Lewis (practically playing himself as Jerry Langford) is a jaded contrast to Rupert’s eccentricities, a man fed up with and now embittered by fame. Rupert is constantly disregarded by Jerry and his management; while Jerry’s fame has pushed him further away from society, never being seen with friends or family, and trapped eating dinner alone in the silence of his ivory tower. Rupert’s relentlessness to get on Jerry’s show, mixed with his fantastical delusions are humorous, there is a tinge of melancholy to the whole picture, one that is perfectly epitomised in Rupert’s climactic monologue. Along with its relevant commentary on obsessive fandom and para-social relationships, The King of Comedy is a multifaceted engaging picture, deserving of appreciation that has been long missed.
1. Taxi Driver (1976) – The film that put Scorsese on everyone’s radar, Taxi Driver remains a powerful and timeless film, almost fifty years since its release. Scorsese’s vision of New York is one of the most hostile environments he has created. Dank, dirty, and ridden with violence, the oppressive weight of it feels tangible, crushing Travis as every scene goes on. Michael Chapman’s cinematography is captivating, neon reflections pervade the city sidewalks along with dense shadows that follow Travis through the night. Paul Schrader’s screenplay places you in the psyche of an alienated soul like no other, with De Niro’s turn as Travis remaining his most unsettling and brutally tragic performance. Lonely, lost, and traumatised, Travis lingers outside the ordinary world, almost on the cusp of sanity, but slipping further away as each night passes. Scorsese’s films have always had an affinity with lonely and alienated figures. Whether through violence, mental health, love, or faith; his protagonists tend to be isolated through a force beyond their control. It is in Taxi Driver that this feeling is most accentuated with striking relevancy with Travis standing as the progenitor of today’s modern incel. As Scorsese puts it “tragically, it’s a norm. Every other person is like Travis Bickel now.” Taxi Driver has become far more reflective than ever before and, most recently, was shamefully ripped off in 2019’s Joker (just with less nuance). Martin Scorsese has made an array of outstanding films across his 56 year long career, but Taxi Driver still remains as his magnum opus.