Though only a few of Scorsese’s films focus on religious stories, deeper questions about faith, doubt and living in a violent world tend to haunt his movies.
An Osage man on the Arkansas River sometime between 1910 and 1918 – about a decade before the Osage Reign of Terror.
Vince Dillion/Oklahoma Historical Society via Getty Images
David Grann’s account of a sensational murder investigation, the basis for Martin Scorsese’s latest film, delves into the mythologies of the old Wild West
Harvey Keitel as Charlie in Scorsese’s seminal Mean Streets.
TCD/ ProdDB / Alamy
From Mean Streets to The Exorcist and Badlands, 1973 was a year that showcased the audacious talent in Hollywood that was experimenting with darker themes and new film techniques.
Martin Scorsese’s new film Silence will be shown to an audience of priests at the Vatican today. It tells the story of persecuted Christians in 17th century Japan - an event still remembered by Nagasaki’s Catholic community.
Bruce Isaacs analyses two related but very different scenes: the famous Copacabana tracking shot from Goodfellas (1990) and the opening scene in Hugo (2011).
Film scholar Bruce Isaacs dissects five classic Martin Scorsese scenes. In episode two, Isaacs looks at the opening credit sequence from the iconic 1973 film Mean Streets.
Harvey Keitel as J.R. in Martin Scorsese’s first film Who’s That Knocking at My Door?
Still from Who's That Knocking at My Door (1967)
From ‘Mean Streets’ to ‘Vinyl’, from The Ronettes to The Clash, music has long been a muse to film director Martin Scorsese. He plays it on set, conceives sequences with certain songs in mind and uses it to chart his characters’ changing fortunes.
Sometimes too much is just too much. Martin Scorsese’s latest film is swamped by its excesses.
Paramount Pictures
The Wolf of Wall Street is Martin Scorsese’s Scarface – and that isn’t meant as a compliment. I watched Brian De Palma’s 1983 film again recently. I had been looking forward to it: the Blu-ray edition…