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  1. Entertainment
  2. Movies

50 Greatest Martin Scorsese Moments

Features
By Simon Kinnear published 13 January 2014

Marty magic from cinema's bestfella

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.

Thin And Angry

Thin And Angry

The Source: The Muse (1999)

The Moment: Scorsese is no stranger to parodying his motormouth persona, like in his cameo in the Albert Brooks film, where he tells screenwriter Steven Phillips (Brooks) he's working on a remake of Raging Bull with a thin guy - "thin and angry, can you see it?"

Page 1 of 50
Page 1 of 50
Shoot The Dog

Shoot The Dog

The Source: Alice Doesn't Live Here Anymore (1974)

The Moment: Scorsese proved his range early in his career by directing Ellen Burstyn to a Best Actress Oscar as the titular heroine, headed West in search of a new life. Part of the film's recognition stemmed from the naturalistic, improvised ease between Burstyn and screen son Tommy (Alfred Lutter), especially in this charming character beat as chatterbox Tommy attempts to explain the punchline to a joke.

Page 2 of 50
Page 2 of 50
Human Sculpture

Human Sculpture

The Source: After Hours (1985)

The Moment: In the film's final, manic minutes, yuppie Paul Hackett (Griffin Dunne) is encased in plaster, stolen by burglars and inadvertently deposited outside the office building he's spent the entire film trying to get back to. We're as disorientated as he is.

Page 3 of 50
Page 3 of 50
Rockumentary

Rockumentary

The Source: The Last Waltz (1978)

The Moment: Scorsese achieved a new level of fame when he took centre-stage as an interviewer discussing the career of The Band with its members. His intelligent but earnest persona was mercilessly lampooned several years later when Rob Reiner played "Marty Di Bergi" in This Is Spinal Tap .

Page 4 of 50
Page 4 of 50
Celebrity Dating

Celebrity Dating

The Source: The King Of Comedy (1983)

The Moment: Having helped Rupert Pupkin (Robert De Niro) to kidnap chat show host Jerry Langford (Jerry Lewis), crazed fan Masha (Sandra Bernhard) binds her hostage in duct tape and forces him to have dinner with her.

Page 5 of 50
Page 5 of 50
Don't Blink

Don't Blink

The Source: Mirror, Mirror from Amazing Stories (1986)

The Moment: Scorsese tackled an episode of the TV series as a favour to exec producer Steven Spielberg, but his tale of a man (Sam Waterston) plagued by a phantom (Tim Robbins) he can only see in reflections is very creepy - nowhere more so than when he looks into his girlfriend's eye and sees himself being strangled by the ghoul.

Page 6 of 50
Page 6 of 50
Casting Gatsby

Casting Gatsby

The Source: Entourage episode Return To Queens Blvd (2008)

The Moment: After disastrous project Smoke Jumpers goes up in flames, down-on-his-luck Hollywood star Vincent Chase (Adrian Grenier) gets the call he's been waiting for his entire life. Scorsese (whose brief, punch-the-air cameo captures his status as the best in the business) wants him for the title role in his modern-day update of Gatsby . [Perhaps he knew his regular go-to guy, DiCaprio, was already lined up to play the same role for Baz Luhrmann?]

Page 7 of 50
Page 7 of 50
Ward C

Ward C

The Source: Shutter Island (2010)

The Moment: Scorsese's homage to the psychological thrillers of Golden Age Hollywood hits its peak with the jittery visit of Teddy Daniels (Leonardo DiCaprio) to the hostile Ward C of Ashecliffe Hospital, where psychopath Noyce (Jackie Earle Haley) tells Daniels wild conspiracy theories... or are they?

Page 8 of 50
Page 8 of 50
Initiation

Initiation

The Source: The Departed (2006)

The Moment: Billy Costigan (Leonardo DiCaprio) is trying to persuade Frank Costello (Jack Nicholson) to take him on as a gangster. First, though, he has to be searched by Costello's associate French (Ray Winstone), including breaking the cast that is protecting Billy's broken hand. Ouch.

Page 9 of 50
Page 9 of 50
Wrapped In A Flag

Wrapped In A Flag

The Source: Gangs Of New York (2002)

The Moment: Amsterdam Vallon (Leonardo DiCaprio) has befriended Bill 'The Butcher' Cutting (Daniel Day-Lewis), the man who killed his father. Things get awkward when Bill decides to wax lyrical about Vallon senior, "the only man I killed worth remembering," while draped in the Stars And Stripes. It's an opportunity for Day-Lewis to steal the film wholesale from the young hero.

Page 10 of 50
Page 10 of 50
Tempest In A Teapot

Tempest In A Teapot

The Source: No Direction Home: Bob Dylan (2005)

The Moment: In tandem with his film career, Scorsese is gradually amassing a definitive record of the baby-boomer rock that inspired him. His four-hour Dylan doc unearths amazing testimony, not least from folk musician Dave Lee Ronk who tells of the "tempest in a teapot" over ownership to the song House Of The Rising Sun , whose arrangement Dylan lifted from Lee Ronk before The Animals did the same to Dylan.

Page 11 of 50
Page 11 of 50
We'll Make 'Em Turn Their Heads

We'll Make 'Em Turn Their Heads

The Source: Mean Streets (1973)

The Moment: While Mean Streets wasn't Scorsese's debut, it feels like it - nowhere more so than in the opening moments, as Charlie's (Harvey Keitel) head hits the pillow in time to the opening drumbeat of The Ronettes' Be My Baby , cueing up the inspired spontaneity of the home-movie style opening credits.

Page 12 of 50
Page 12 of 50
Victory Celebrations

Victory Celebrations

The Source: New York, New York (1977)

The Moment: Riding high on unbridled confidence, Scorsese's big-budget musical opens with one of his biggest crowd scenes: the epic meet-cute between singer Francine Evans (Liza Minnelli) and saxophonist Jimmy Doyle (Robert De Niro) against the backdrop of wild VJ Day celebrations.

Page 13 of 50
Page 13 of 50
The Whole World Has To Answer Right Now

The Whole World Has To Answer Right Now

The Source: Bad (1987)

The Moment: Scorsese's love of music made him an obvious choice for promos, but it's surprising how few he has directed. The stand-out is the 18-minute short made to accompany the release of Michael Jackson's hit single and - especially the central dance routine, a gritty update of West Side Story 's style to a modern gang setting.

Page 14 of 50
Page 14 of 50
Sex And Violence

Sex And Violence

The Source: Cape Fear (1991)

The Moment: Scorsese's remake of the 1962 thriller muddies the water in its fable of good versus evil by ensuring the family under attack from maniac Max Cady (Robert De Niro) isn't exactly whiter than white - nowhere more so than the long, uncomfortable scene when teenage daughter Danielle (Juliette Lewis) proves surprisingly amenable to Cady's advances.

Page 15 of 50
Page 15 of 50
The House Wins

The House Wins

The Source: Casino (1995)

The Moment: Scorsese is in his element documenting life behind the scenes in Vegas, not least in showing what happens to one unlucky cheat who happens to get caught. Ace Rothstein (Robert De Niro) orders that the hustler's favoured right hand is mangled with a hammer, telling him, "Now you're gonna have to learn with your left hand."

Page 16 of 50
Page 16 of 50
Cut Up

Cut Up

The Source: The Big Shave (1967)

The Moment: Scorsese's surreal student short depicts a man having a shave so severe he cuts open his face and neck. Often cited as an allegory about U.S. involvement in Vietnam, it's more useful as an early indication of the young director's capacity for filming violence.

Page 17 of 50
Page 17 of 50
Life Is A Canvas

Life Is A Canvas

The Source: Life Lessons from New York Stories (1988)

The Moment: Scorsese's short charts how the stormy art of boozy painter xx (Nick Nolte) results from his troubled relationship with muse (Rosanna Arquette). The moments of Nolte at work, intensely inspecting the canvas before attacking it with his brush, are kinetic depictions of the violent nature of art that has always occupied Scorsese's attention.

Page 18 of 50
Page 18 of 50
Bodies

Bodies

The Source: Kundun (1997)

The Moment: Scorsese surprised many by tackling the story of the Dalai Lama, but combined his interest in religious figures with his expertise with violent imagery in a dream sequence where the Tibetan leader realises he is standing amongst the corpses of dozens of monks, captured in a bravura crane shot by cinematographer Roger Deakins.

Page 19 of 50
Page 19 of 50
Along Came A Spider

Along Came A Spider

The Source: Goodfellas (1990)

The Moment: Spider (Michael Imperioli) had already tasted Tommy DeVito's rage when the latter shot him in the foot. So telling him, "Why don't you go fuck yourself, Tommy?" takes considerable - but ill-advised - balls. Tommy's retort is simply to blast him to bits.

Page 20 of 50
Page 20 of 50
Meatballs

Meatballs

The Source: Italianamerican (1974)

The Moment: Scorsese's mother Catherine has several memorable cameos in her son's movies, notably Goodfellas , but her finest on-screen role was playing herself, preparing a meatball sauce in Marty's affectionate documentary about his family.

Page 21 of 50
Page 21 of 50
Prohibition Blues

Prohibition Blues

The Source: Boardwalk Empire (2010)

The Moment: In addition to serving as executive producer on the HBO show, Scorsese helmed the pilot episode, ensuring a house style in his image - nowhere more so than in the elaborate montage where Jimmy Darmody (Michael Pitt) and Al Capone (Stephen Graham) prepare a violent ambush while the good folk of Atlantic City are entertained by comedian Eddie Kantor.

Page 22 of 50
Page 22 of 50
Joey Clams

Joey Clams

The Source: Mean Streets (1973)

The Moment: Charlie (Harvey Keitel) tries to berate Johnny Boy (Robert De Niro) for not paying off his outstanding debts. The actors' semi-improvised banter, based on Abbott and Costello routines, is a treat, especially when De Niro starts making excuses about having to give the cash to Joey Clams.

Page 23 of 50
Page 23 of 50
Average Nobody

Average Nobody

The Source: Goodfellas (1990)

The Moment: Dripping with irony, the ending of Goodfellas sees Mob traitor Henry Hill (Ray Liotta) forced to lie down on the Witness Protection Programme. Breaking the fourth wall, Hill tells us, ""I'm an average nobody. I get to live the rest of my life like a schnook," as Sid Vicious' My Way provides sarcastic musical accompaniment.

Page 24 of 50
Page 24 of 50
Dignam vs Dignity

Dignam vs Dignity

The Source: The Departed (2006)

The Moment: New recruit Billy (Leonardo DiCaprio) - head-hunted as an ideal undercover agent - is put through his paces by acid-tongued Sgt Dignam (Mark Wahlberg). "What's the matter, smartass? You don't know any fuckin' Shakespeare?"

Page 25 of 50
Page 25 of 50
The Night They Drove Old Dixie Down

The Night They Drove Old Dixie Down

The Source: The Last Waltz (1978)

The Moment: Scintillating cut from Scorsese's film of The Band's farewell concert, highlighting the care the director went to in mapping out camera positions to allow elegant tracking shots and sharp close-ups.

Page 26 of 50
Page 26 of 50
Crash!

Crash!

The Source: The Aviator (2004)

The Moment: Howard Hughes (Leonardo DiCaprio) takes his prototype spy plane for a test flight, only for the engines to fail mid-flight. The resulting crash into a Beverly Hills home - as panicky and visceral as any in cinema - highlights that just because Scorsese doesn't often attempt spectacle, that doesn't mean he isn't brilliant at it.

Page 27 of 50
Page 27 of 50
History Lesson

History Lesson

The Source: Hugo (2011)

The Moment: Georges Méliès (Ben Kingsley) recounts his filmmaking career, giving Scorsese the opportunity to create one of his loveliest montages, a history lesson in which the state-of-the-art at the beginning of the 21st century (3D, digital) is used to recreate the state-of-the-art at the beginning of the 20th.

Page 28 of 50
Page 28 of 50
All The Animals Come Out At Night

All The Animals Come Out At Night

The Source: Taxi Driver (1976)

The Moment: Scorsese conjures a vision of modern-day hell as Travis Bickle (Robert De Niro) intones his dark beliefs - "one day a real rain will come and wash all this scum off the streets" - while Michael Chapman's neon-slick cinematography and Bernard Hermann's sleazy score reinforce the mood.

Page 29 of 50
Page 29 of 50
Scorsese The Teacher

Scorsese The Teacher

The Source: A Personal Journey with Martin Scorsese Through American Movies (1995)

The Moment: Scorsese was commissioned by the BFI to direct and narrate a history of Hollywood to coincide with the centenary of cinema. Typically, Scorsese couldn't stop himself and his passion is undimmed over nearly four hours of rapid-fire hero-worship of his predecessors.

Page 30 of 50
Page 30 of 50
Dead And Buried

Dead And Buried

The Source: Casino (1995)

The Moment: Joe Pesci doesn't have much luck in Scorsese movies. He's bumped off in Goodfellas after thinking he's going to become a made man. Then, in spiritual sequel Casino , as maverick Mobster Nicky Santoro, he and an associate are beaten senseless with baseball bats and then buried alive in the desert, in one of Scorsese's most gruelling depictions of gangster violence.

Page 31 of 50
Page 31 of 50
Upper Class Gangsters

Upper Class Gangsters

The Source: The Age Of Innocence (1993)

The Moment: Many were surprised when Scorsese announced plans to adapt Edith Wharton's 19th century tale of upper class manners. But with this early scene at a party - where Scorsese's camera glides through the sets while Joanne Woodward's narrator sardonically explains the rules of society - reveals the film as a companion piece to Goodfellas . Both are about the anthropology of New York subcultures and, in its own way, this one is as cruel as the Mob.

Page 32 of 50
Page 32 of 50
Boxing Outside The Ring

Boxing Outside The Ring

The Source: Raging Bull (1980)

The Moment: Forget the official fights. The most terrifying expression of Jake LaMotta's (Robert De Niro) rage comes when wife Vickie (Cathie Moriarty) sarcastically tells him she fucked his brother Joey (Joe Pesci) and the boxer - blinded by jealousy into believing her - beats Joey to a pulp. Scorsese drops the stylised choreography to present it into raw verite style.

Page 33 of 50
Page 33 of 50
Career Ambitions

Career Ambitions

The Source: Goodfellas (1990)

The Moment: The opening flash-forward throws us straight into hell as mobsters Jimmy Conway (Robert De Niro), Tommy DeVito (Joe Pesci) and Henry Hill (Ray Liotta) realise that the body in the truck isn't quite dead. As the trio finish off the job, Hill informs us in voiceover that, "As far back as I can remember, I always wanted to be a gangster." Cut to credits - and Scorsese has our attention.

Page 34 of 50
Page 34 of 50
A Contender

A Contender

The Source: Raging Bull (1980)

The Moment: Scorsese helped to raise the bar for immersive acting by shutting down principal photography to allow Robert De Niro to put on 70 lbs of weight through binge eating in order to portray the older, fatter Jake LaMotta. The results are transformative - and De Niro won the Oscar - but the film's final scene shows it's not just about the surface. As LaMotta rehearses the "I could've been a contender" monologue from On The Waterfront , the film captures the fall of a hugely talented man who let it all go to waste.

Page 35 of 50
Page 35 of 50
A Normal Life

A Normal Life

The Source: The Last Temptation Of Christ (1988)

The Moment: Scorsese revolutionises the Passion as Jesus Christ (Willem Dafoe) imagines escaping from the Cross, starting a family and getting old. This remains the filmmaker's single most controversial scene - a French cinema was firebombed in protest - but exemplifies Scorsese's tough but thoughtful approach to his Catholicism. If anything, it ennobles Christ even more by showing what he sacrificed.

Page 36 of 50
Page 36 of 50
Basement Legend

Basement Legend

The Source: The King Of Comedy (1983)

The Moment: How creepy is wannabe stand-up comedian Rupert Pupkin (Robert De Niro)? Well, he's turned his bedroom into a fake chat show, where he can pretend to be the king of comedy alongside cardboard cut-outs of host Jerry Langford (Jerry Lewis) and fellow 'guest' Liza Minnelli.

Page 37 of 50
Page 37 of 50
Pool Hall Fight

Pool Hall Fight

The Source: Mean Streets (1973)

The Moment: A simple business deal with pool hall owner Joey goes awry when De Niro's Johnny Boy takes exception to being called a mook. What the fuck's a mook? Nobody knows, but the insult is enough to spark a freewheeling fight, with Scorsese's camera dancing nimbly between tables as The Marvelettes' Please Mr Postman plays on the jukebox.

Page 38 of 50
Page 38 of 50
Never Got Me Down

Never Got Me Down

The Source: Raging Bull (1980)

The Moment: Hard to pick only one of the film's many superbly staged boxing matches but Jake LaMotta's (Robert De Niro) defeat to Sugar Ray Robinson edges the rest, by virtue of its vital character work. The self-hating LaMotta allows Robinson to beat the crap out of him (Scorsese capturing the blood spurting off his face in agonising slo-mo) but is still cocky enough to tell his opponent afterwards, "You never got me down, Ray."

Page 39 of 50
Page 39 of 50
(Desaturated) Bloodbath

(Desaturated) Bloodbath

The Source: Taxi Driver (1976)

The Moment: The climactic orgy of destruction as Travis Bickle (Robert De Niro) blasts his way through pimp Sport (Harvey Keitel) and cronies to rescue underage prostitute Iris (Jodie Foster). Infamously, the MPAA demanded that Scorsese desaturated the colours to avoid the violence looking too bloody, but if anything the stylised palette makes the scene look creepier.

Page 40 of 50
Page 40 of 50
Dominoes Fall

Dominoes Fall

The Source: Goodfellas (1990)

The Moment: The bungled aftermath of the Lufthansa raid causes the paranoid Jimmy Conway (Robert De Niro) to order the execution of his fellow conspirators. Cue a series of stylised tableaux as bodies are discovered all over the East Coast, with the gliding camerawork timed to hit the beats of the piano coda to Derek And The Dominoes' Layla .

Page 41 of 50
Page 41 of 50
Funny How?

Funny How?

The Source: Goodfellas (1990)

The Moment: Scorsese's willingness to let a moment play out has never been bettered by Joe Pesci's Tommy playfully busting Henry Hill's balls after the latter calls him a funny guy. Tommy's mock indignation is hilarious but also uncomfortably edgy, and Ray Liotta's spooked reaction sets up Tommy's short fuse nicely for later bouts of violence.

Page 42 of 50
Page 42 of 50
Backseat Driver

Backseat Driver

The Source: Taxi Driver (1976)

The Moment: Scorsese's greatest on-screen role came as the disturbed - and disturbing - passenger who explains to Travis Bickle how he intends to murder his wife and her lover, teaching De Niro a lesson in pure psychosis. Eagle-eyed viewers may have clocked that Scorsese appears briefly earlier in the film, hinting he might be the Devil leading Travis to damnation.

Page 43 of 50
Page 43 of 50
Five Points

Five Points

The Source: Gangs Of New York (2002)

The Moment: Scorsese begins his biggest film to date with his biggest action sequence to date - the battle of the Five Points. For all the blood and thunder of the scrap, the shot that tingles spines is before the fight commences, as Monk (Brendan Gleeson) boots open the door to reveal the battlefield beyond.

Page 44 of 50
Page 44 of 50
At The Copacabana

At The Copacabana

The Source: Goodfellas (1990)

The Moment: So why would a nice girl like Karen Hill (Lorraine Bracco) go out with a wiseguy like Henry Hill (Ray Liotta)? Scorsese shows us why she's so seduced, by seducing us - with an exquisite one-take Steadicam shot in which the couple avoid queuing for the Copacabana nightclub by taking a short-cut through the kitchen, all the way to a stage-side table.

Page 45 of 50
Page 45 of 50
Cavalleria Rusticana

Cavalleria Rusticana

The Source: Raging Bull (1980)

The Moment: The opening credit sequence is simplicity itself - just Jake LaMotta (Robert De Niro) shadow-boxing in the ring - but becomes something noble and transcendent thanks to the evocative monochrome cinematography and the haunting choice of music, the Intermezzo from Pietro Mascagni's Cavalleria Rusticana .

Page 46 of 50
Page 46 of 50
Jumpin' Johnny Boy Flash

Jumpin' Johnny Boy Flash

The Source: Mean Streets (1973)

The Moment: Robert De Niro swaggers into cinematic immortality as Johnny Boy arrives at Tony's bar, a girl on each arm, the actor's strut married to gliding dollywork and Jumpin' Jack Flash on the soundtrack. For De Niro and the Stones alike, it wouldn't be their last time in a Scorsese film.

Page 47 of 50
Page 47 of 50
Finally

Finally

The Source: The 79th Academy Awards (2007)

The Moment: At the eighth attempt - and 26 years after his first nomination - Martin Scorsese finally bagged an Oscar for directing The Departed . The Academy, realising how belated the prize was, brought out the big guns to present the statuette: Francis Ford Coppola, Steven Spielberg and George Lucas.

Page 48 of 50
Page 48 of 50
Echo Chamber

Echo Chamber

The Source: Taxi Driver (1976)

The Moment: The most famous scene in the Scorsese / De Niro repertoire sees loose cannon cabbie Travis Bickle practice his pre-kill routine into the mirror. Imitated a million times, it's worth remembering that De Niro's exaggerated ire - "Well I'm the only one here. Who the fuck do you think you're talking to?" - provides a rare laugh during a particularly oppressive stretch of the movie.

Page 49 of 50
Page 49 of 50
May 11, 1980

May 11, 1980

The Source: Goodfellas (1990)

The Moment: Henry Hill's life comes crashing down in Scorsese's greatest moment - a sustained blast of manic energy that symbolises Hill's cocaine-ravaged paranoia and propelled by whipsmart editing (notably the frantic montage of Hill hitting the brakes when he nearly hits a car) and sublime music cues from Harry Nilsson to The Rolling Stones.

Page 50 of 50
Page 50 of 50
Simon Kinnear
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