![]() At first I was looking to find the kinetic energy in his way of editing movies, but I soon realised it was unmatchable. What I have learned from Scorsese is how he is always relentless in exploring every single detail, contradiction and power within a character. The doom they have to face, to be separated by the riles of society, losing innocence for ever. Marty goes from the bottom of the table all the way to the top showing the grandeur of the plan created by these monsters, and the solitude of these two. Everybody present knows they are making sure her and Newland are going to be separated for ever, and they do it by hosting the most gorgeous meal. To understand its display of violence, think of the scene at the end of the movie with the great dinner to celebrate the countess going back to Europe. The Age of Innocence in my view is one of the most violent movies ever made: it is about repression and oppression. ![]() He explores humankind and what comes with that, including violence. I don’t see him as a violent film-maker I think he’s unsentimental – as every real film-maker should be. It takes masterful details to do this kind of stuff – Scorsese is a master, and I salute him and celebrate him. This detail is almost like him opening her vagina with his own bare hands – it is one of the greatest and most erotic moments in cinema ever. Newland opens the countess’s glove and unbuttons it and then opens up the piece of leather that the glove is made of with his fingers and kisses her wrist. The other sequence I want to discuss is in The Age of Innocence, when Newland Archer and Countess Olenska, who have inexorably been falling in love throughout the entire movie, but always repressing what they feel, find themselves alone in a carriage. ![]() Those kind of moments are just unbeatable and amazing. It reminds me also of the way we ascend to heaven at the end of the Shine a Light documentary about the Rolling Stones, when the camera goes up, up, up. The idea that he can put together the life of Christ from the Kazantzakis novel with his own life in the land of cinema, and bring Jesus to heaven through the power of cinema, it is sublime. The camera lingers on Jesus, and then, to show him ascend to the heavens, Scorsese does one of the most beautiful and profound cinema gestures ever conceived: basically, he flickers the film, as if the film becomes a trip of light and is the way his Jesus goes to heaven.
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