Contents:
I have often thought that many of Scorsese's critics and admirers do not realize how deeply the Catholic Church of pre-Vatican II could burrow into the subconscious, or in how many ways Scorsese is a Catholic director. This movie is like an examination of conscience, when you stay up all night trying to figure out a way to tell the priest: I know I done wrong, but, oh, Father, what else was I gonna do? A work of obvious affection, even adoration, what might surprise readers most is how Scorsese By Ebert emerges as a work of profound identification.
In his foreword, Scorsese acknowledges that Ebert closely shares his love of film, his religious roots, and his moralistic worldview. Ebert picks up on that theme in his introduction: We were children of working-class parents We attended Roman Catholic schools We memorized the Latin of the Mass We went to the movies all the time. Long before they ever met each other, these two were kindred spirits.
Scorsese's films spoke with a tone that Ebert had never heard before, and Ebert was Scorsese's champion well before the director became a household name. Schickel, in fact, was proud to admit in Cineaste last year that he now reviews, exclusively, for Time.
Yet web components of publications are still treated like bastard stepchildren, aside from the constant reviewer from Chicago. As the Rotten Tomatoes age came upon us, RogerEbert.
Benefiting from years of reviews, the webpage became a critical database at a time when new sites fabricated themselves into such. His search engine lets us step into the past, as Ebert has filed from Vietnam to George W. The internet opened room for extensive new media journals, such as the one you are now reading. The collection is an odd case, one in which a trail of online reading returns to the print format. While much of the reviews collected here first appeared in print, and Ebert regards himself as a newspaperman to this day, his later writings were filed into cyberspace as they were syndicated in print.
Hence, by spreading out a series of Ebert pieces, Scorsese offers something of a reflexive exercise — hard copy entwining digitext — and a test to readers: The individual essays are of course superb, but taken together, they are vital and rich with anecdote and insight. I'm going to miss you terribly.
Sep 06, Sebastian rated it really liked it Shelves: After having read this book I have some clues, at last, as to why the films by one of the most famous directors of our time have often, despite their fascinating subject matters and technical brilliance, remained inaccessible to me to a certain degree: Dec 25, John rated it it was amazing Shelves: Essential reading for fans of either artist. This enthusiastic book of interviews, reviews and essays makes me want to rewatch many Scorsese films to see what I've missed up to now.
Martin Scorsese received his first ever film review from Roger Ebert, back at the very beginning of both of their careers, and from there a friendship that lasted until the end was born. This book is a mix of Ebert's reviews of all of Scorsese's films to come, interviews between the two, and some personal reflections. Scorsese is my favourite director, and Ebert's reviews played a big role in getting me into film, so this book was really well suited for me. I came out of it with a better underst Martin Scorsese received his first ever film review from Roger Ebert, back at the very beginning of both of their careers, and from there a friendship that lasted until the end was born.
I came out of it with a better understanding of why exactly I like so many of Scorsese's films, and also an appreciation that the two were such a great duo for so long. I only wish the book had more interviews, as I'd read many of the reviews before already.
In fact, in his introduction, Martin Scorsese mentions This book is an interesting retrospective. But Ebert covers essentially every Scorsese movie, and there is an enormous amount of repetition in the essays, particularly about Scorsese's influences and obsessions. Forging on in the face of illness, Ebert is enthused to watch the now finally! A great writer on a great director. I could go on, but I've decided to rewatch Taxi Driver next. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the consent of the University of Chicago Press. But this is a minor quibble.
Nov 09, Heather rated it really liked it. A great writer on a great director. Jan 13, Rachel C. This book is an interesting retrospective. It goes through Scorsese's films chronologically, with Ebert's original, unedited reviews when they were released and some additional essays reconsidering them with the benefit of time. He doesn't change his mind by much. Ebert is a huge fan of Scorsese and has been from the start.
He readily admits that their similar ages and Catholic backgrounds make Scorsese's work particularly resonant with him. In fact, in his introduction, Martin Scorsese mentions This book is an interesting retrospective. In fact, in his introduction, Martin Scorsese mentions that Ebert is possibly more passionate about his first film than Scorsese himself. After a while, the book starts to feel repetitive.
The introductions summarize the reviews, which are mentioned in the reconsiderations, and then are referenced again in later reviews for other films, etc. I would have liked to see some pieces with broader context e. Pauline Kael is mentioned several times as having a different opinion. Her perspective would have been a nice counterpoint to Ebert, who is pretty respectful even when reviewing the Scorsese movies he didn't like.
I wouldn't say that Martin Scorsese is one of my favorite directors, though I have seen a good number of his films. I think it's because he primarily interested in questions of masculine identity, and how they intersect anger, guilt, obsession, spirituality, criminality and even psychosis. It's an alien landscape to me.
This was over 15 years ago now, so much of the content felt absolutely fresh; but there were many ideas that I've since owned to a point I truly believed they were my own thoughts. When people claim to not like horror, musicals, melodramas, etc. I now suspect this has roots in Ebert's line "A film is not about its subject; it's about how it's about its subject.
The problem with the rest of the book is that it is a compilation rather than a whole. While the interview is a naturally flowing dialog, the rest of the book is a complied chronological overview. Ebert's reviews and articles on each film are given, but no editing has been done in the assembly. The same brilliant insights are offered over and over and over, until the depth of an observation is lost to familiarity. This may work better as a reference book where, after reading the essential interview, it is kept handy and picked up only after viewing a specific film.
Oct 13, Pj rated it it was amazing Shelves: I don't think you could expect less than perfection when perhaps the greatest film critic turns his gaze towards perhaps the greatest American film director. While the book contains little recent writing and is comprised primarily of archived reviews the book was published prior to Ebert's passing , it's still a fascinating read and you can see Ebert's rightful enthusiasm for Scorsese from the beginning and watch it evolve.
It also helps he adds reconsiderations every so often and, perhaps to f I don't think you could expect less than perfection when perhaps the greatest film critic turns his gaze towards perhaps the greatest American film director. It also helps he adds reconsiderations every so often and, perhaps to further highlight his love of the masterpieces remains cool on a handful of Scorsese's films.
There are no pulled punches, not that you need to pull many punches in this filmography. Beyond giving a reason to rewatch great films After Hours , remains a personal favorite and Goodfellas remains as close to perfection any film can ever be , its a pleasure to listen to both men author and subject talk about film - both speak with so much joy, knowledge and accessibility that one could almost never read enough from either. If there was any fault with this book its that - I wanted more especially about how Scorsese's Catholic upbringing informed his work.
I could go on, but I've decided to rewatch Taxi Driver next. One of my favorite directors discussed by my favorite critic. Ebert apparently gave Scorsese his first review ever when Who's That Knocking at My Door came to a Chicago film festival and this book contains them all up until Shine a Light.
There are also a few times when he revisits a film with a new review, plus all of his Great Movie essays on Scorsese films and some interviews with the director. Ebert is a great writer and its a really good read.
At times it gets just a bit repetitive as Ebert One of my favorite directors discussed by my favorite critic. But mostly it is a great resource for anyone interested in film, especially those of Scorsese. May 09, Anthony Peronto rated it it was amazing Shelves: What more can be said about the writer and subject of this invaluable book? From ambitious debut to Stones documentary, and everything in between, Ebert's reviews perfectly examine Marty's themes and filmmaking.
And like most of his reviews, they make you want to stop what you're doing and watch the film that you're reading about. Then there's the interviews; which let Marty control the conversation but also reveals the bond between the two men. Grateful but honest, the book proves that Ebert is What more can be said about the writer and subject of this invaluable book?
Grateful but honest, the book proves that Ebert is the best commentator on Scorsese. For fans of Roger Ebert or any Scorsese film, this is a must read!