Is it didactic? Then again, you could say that about 95% of Martin Scorsese’s decades-long output. Together, each somehow made his most abstract work, a film about the Dalai Lama that glides over the material nature of religious leader’s existence in favor of an attempt to capture his quest for spiritual enlightenment.
That leaves a number of odd jobs left unremarked upon here, but to paraphrase Fran Lebowitz, the subject of one of Scorsese’s documentaries, I am both unfair and right. There's even a disclaimer in the film stating that is isn't based on the Gospels, but that wasn't enough to quell the religious outcry from several Christian groups who took issue with the presentation of Christ. And it's another collaboration with Leonardo DiCaprio, this time playing real life New York City stockbroker Jordan Belfort. Jack Nicholson threatens to upend the film with his showboating, but elsewhere are the delights of Mark Wahlberg and Alec Baldwin’s deft double-act, a corkscrewing narrative that ceases about halfway to care about how little sense it makes, and the sight of Leonardo DiCaprio at last coming into his own as Scorsese’s new leading man precisely by taking such a backseat to others, popping up mainly to barely conceal his pure terror as his harebrained undercover mission threatens to go belly up at every second. The amount of time and effort put into the most innocuous, unnecessary moments (especially the carefully timed camera drop to follow a tossed key) confirm that Scorsese’s larks are more thoroughly mapped and considered than some magnum opuses. If there’s one thing you pick up from watching a lot of Martin Scorsese movies, you realize the man cares deeply about the spiritual nature of man.
Scorsese’s brief American Masters episode only has enough time to be an overview, yet Scorsese’s own personal affection for and attachment to the filmmaker helps reposition Kazan to doubters as the person he always was: an unparalleled director of actors whose films, as in his political decisions, cannot be as easily reduced as many would wish. While most filmmakers are lucky to have just one film that stands the test of time, Scorsese has had hit after hit across five decades. These are his absolute longest, with some amazing runtimes! Along with Steven Spielberg, George Lucas, and Francis Ford Coppola, Scorsese was among the rabble-rousers who shook filmmaking to its core in the 1970s, when all conventional wisdom (and filming permits) were thrown out the window for a more dangerous yet personal style of cinema.
It’s a quintessential American film you’re lucky to get once in a lifetime.
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