Movies adapted from current affairs reports often appear tedious and mediocre if they are to follow the facts. Martin Scorsese made up for this shortcoming with fast camera transitions and first-person narrative style. So being able to watch the two-and-a-half-hour movie in one go, the screenwriter and director are indispensable.
Which is better or worse
in this film, it must be a irony to pursue the answer. Cadillacs, mink coats, guns, banquets, women, bars, playing cards... Feel the extraordinary treatment in the drunkenness of life and death, appreciate the pleasure of rights and sex, even if it is full of unknown dangers, you can never hesitate.
Anyone who has a bit of conscience will shudder at the sight of a sharp cone inserted into the back of someone's head like lightning.
So there was a moral sway, and so did the audience, and so did "me" Henry. It's just that the audience is a sober bystander-seeing the feasting life is itchy, seeing cruel betrayal, violence, and hating it-the more neutral, the easier it is to be swayed by other people's values.
But Henry is not, because this is his gang life since he was thirteen years old. In his opinion, being a mafia is better than being the president of the United States. Even though he was confused for a while, he was soon overshadowed by the expectation of having fun in time. Just like his line at the end: "For me, the most difficult thing is to get out of that way of life. I still love that kind of life. We are treated like movie stars. We just need to speak, what we want... The difficulty is here. Everything is different now. I have to wait for the shift like everyone else. I can’t even eat decent dishes. I become an anonymous kid and live indifferently for my whole life, and I will live like a scum in my next life. People who face the expansive desire can always face it calmly, but ordinary has become a kind of helpless suffering.
In contrast, Jimmy and Tommy, gangsters who debuted in the 1950s and 1960s. Without the slight caution of the boss, Poly, it is not as good as Henry's wise protection. The three words "mafia" are their lifelong pursuit. Just to join this organization, their style of doing things tends to be "cruel and cruel." Almost all the killings in the film are triggered by Tommy and Jimmy. Perhaps no one understands whether the Mafia tempted them or whether they were born to fit the Mafia.
I still remember the scene of Jimmy crying bitterly in the phone booth. Tommy, a pure-blooded Italian, joining the Mafia is the only real honor for Jimmy. When Tommy was shot, all dreams were shattered, Jimmy cried unstoppable, not for Tommy, but for the disappearance of glory. The poor, humble cry may be too abrupt, but it is this sudden vent that contrasts sharply with Henry's confusion, allowing the audience to discover the truth behind the same goal. This is also the key to different people having their own endings.
What is love
"Love" is a topic that no movie can escape. The filming of the director's documentary methods, in the final analysis, still needs to take the audience into an objective and unfamiliar circle, and thus interpret the text behind the image.
Karen was attracted by Henry, rather than attracted by the authority derived from money and the stimulus derived from guns. The two hugs of Mary and Henry were separated by a thick wad of banknotes. This is the bond that connects the marriage of two people, followed by the children, and then the feelings.
As for the women he met after Henry, whether Mary or Susan, women without family status played a more pitiful role in the film.
The Mafia’s relationship at the beginning of the film is mostly warm and friendly. Their parties are always in bars, card tables, cars and private dinners. Speaking of jokes that only the gang can understand, the laughter is grim and exaggerated, and the women discuss cheap and conspicuous topics, boring and vulgar.
But as the incident continues to extend, the harmony we see is more connected by pure interest. Once they threaten Dao's own interests and harm their so-called dignity, the conflict will tear quickly like a zipper, revealing its cruel nature. Even if you have known Pauly and Henry, Jimmy and Henry for decades, the final mutual betrayal or abandonment itself is the greatest irony of harmony.
There are two scenes in the film that reflect the gangster's concept of family affection. One is that Pauly and Jimmy ordered the taste to ask Henry to go home and make up with his wife, and the other is that Tommy, Jimmy and Henry eat authentic Italian meals at Tommy's mother's house.
Protecting the family seems to the older generation of gangsters to be an obligation, and they are determined to pass on this idea to the next generation. But this narrow protection did not invade the entire gang life. Just as Morrie and his wife both died in the car, this is the lesson of blood.
A good movie can derive multiple interpretations. The quiet image style of "Pirates Also Knows" allows us to see the complete lines of a leaf stretch in different directions. Some images are the opposite. The ups and downs of the narrative style can make the seed grow into a big tree quickly, and what we feel is the aura of a big tree.
This is not a question of the direction of the subject matter, but of near and far. The appreciation of "Taking the Way" makes me even more inclined to the former, because in terms of the strength of the tree, the tactful presentation of the veins makes me more heart-warming. So no matter when and where to revisit the classics again, it is enough to let us know the truth between tossings and turns.
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