The Martin Scorsese Collection
Boxcar Bertha (March 16/05)
While this early effort from Martin Scorsese does have a number of expectedly impressive directorial flourishes, the paper-thin storyline and cheap production values (the film cost less than a million dollars to produce) turn this 88-minute drama into an often interminable experience. Barbara Hershey and David Carradine star as Bertha and Bill, a pair of depression-era crooks who spend their days robbing trains, banks, and anything else that promises a monetary reward (including an exclusive society party). Naturally, the law eventually catches up to them (the film is an admitted ripoff of Bonnie and Clyde, after all). Boxcar Bertha's oppressively deliberate pace is exacerbated by Scorsese's loose, improvisational style (something undoubtedly dictated by the budget), which gives the film a fairly amateurish feel. The end result is a movie that's highly unlikely to appeal to anyone except the most ardent Scorsese fan.
out of
The Last Waltz (March 15/05)
Overlong but enjoyable documentary revolving around The Band's farewell concert, held in November of 1976 at San Francisco's Winterland. The film includes performances by many notable musicians, including Bob Dylan, Neil Young, Dr. John, and Eric Clapton. Director Martin Scorsese does an effective job of allowing the music to speak for itself, going so far as to avoid shots of the audience altogether (an intriguing choice that absolutely works). The film also includes interviews with members of The Band, as they reminisce about their early days and discuss the reasons behind the breakup. In the end, The Last Waltz will likely have more of an impact on viewers with some knowledge of The Band's music - though it's hard not to appreciate the ample talent assembled by Robbie Robertson and company.
out of
New York New York (March 15/05)
Astonishingly dull drama starring Robert DeNiro and Liza Minnelli as a squabbling couple who fight and argue their way through the ups and downs of their respective showbiz careers (he's a saxophonist, she's a singer). At a running time of almost three hours (!), large chunks of New York New York come off as completely superfluous - something that only gets worse towards the end, as the movie turns into a full-fledged musical. Exacerbating matters is the acting, with DeNiro delivering an outrageously over-the-top performance (leaving Minnelli with little to do except attempt to keep up). Aside from a few oddball moments that have nothing to do with the plot - ie a bizarre, George Costanza-esque episode in which DeNiro's character gets into an incredible argument over a parking spot - there's really not much here worth recommending, though the set design is admittedly quite impressive.
out of
Raging Bull (March 9/05)
While there's no denying that it's very well acted and flawlessly filmed, Raging Bull is nevertheless a sporadically engaging but mostly overrated look at the life and career of boxer Jake LaMotta (played by Robert DeNiro, in an Oscar-winning performance). Screenwriters Paul Schrader and Mardik Martin employ an episodic structure as opposed to something more linear, and as a result, certain sequences are more effective than others. Exacerbating matters is an incredibly slow, almost dull opening hour that doesn't really go anywhere; it's not until around halfway through that the film finally begins to build up some momentum, particularly as LaMotta begins his downward spiral into obscurity. Having said that, DeNiro's legendary performance goes a long way towards keeping things interesting, while costar Joe Pesci is equally impressive as LaMotta's long-suffering brother. And then there's Martin Scorsese's direction, which is just as much a star as DeNiro; along with cinematographer Michael Chapman, Scorsese imbues the film with a distinctive, memorable visual style that's rightly earned its place in cinematic history. Had the entire movie been as captivating as its look, Raging Bull would undoubtedly be worthy of the enormous amount of praise it's received over the years. As it stands, though, the film isn't nearly as effective as one might hope - despite a surfeit of extremely positive attributes.
