Director Martin Scorsese speaks candidly and passionately about one of his formative filmmaking influences: the late Elia Kazan. Utilizing precisely chosen clips from Kazan’s signature films including “On the Waterfront,” “A Streetcar Named Desire,” “Gentleman’s Agreement,” “Baby Doll,” “A Tree Grows in Brooklyn,” “A Face in the Crowd,” “America, America,” and “The Last Tycoon,” and interview footage of the director himself, co-directors Scorsese and Kent Jones recount the director’s tumultuous journey from the Group Theatre to the Hollywood A-list to the thicket of the blacklist. But most of all, they make a powerful case for Kazan as a profoundly personal artist working in a famously impersonal industry.
The world of New York intellectuals has often been memorialized in books, but rarely on film. Martin Scorsese teams up with David Tedeschi (editor on several Scorsese documentaries) to direct The 50 Year Argument, a documentary tribute to The New York Review of Books whose 50-year history saw it frequently on the frontlines of cultural and political debate. The film features a wide array of interviews with the magazine’s international contributors, all of whom exemplify the power of language to provoke, illuminate and effect change. Sitting at the helm is Bob Silvers, who has edited the magazine for its entire history, having done so alongside Barbara Epstein until her death in 2006. [Synopsis courtesy of Toronto International Film Festival]
Martin Scorsese’s Oscar-winning biopic about the life of film-maker and aviation pioneer Howard Hughes from 1927 to 1947, during which time he became a successful film producer and an aviation magnate while simultaneously growing more unstable due to severe obsessive-compulsive disorder. After a scene from 1914, which may explain his later fear of dirt and disease, the film starts in 1927 during Hughes’ filming of the World War I aviation film “Hell’s Angels”. He’s 22 years old, has inherited the family’s fortune and tool company, but wants to spend his time making film instead. However, he soon finds himself just as involved in the aviation industry, buying an airline and developing new planes.
1863. America was born in the streets. In this movie, we see Amsterdam Vallon returning to the Five Points of America to seek vengeance against the psychotic gangland kingpin Bill the Butcher who murdered his father years ago. With an eager pickpocket by his side and a whole new army, Vallon fights his way to seek vengeance on the Butcher and restore peace in the area.
“I saw these movies. They had a powerful effect on me. You should see them.” That’s Martin Scorsese’s message for this documentary. We meet his family on Elizabeth Street in New York; he’s a third generation Italian with Sicilian roots. Starting in 1949, they watched movies on TV as well as in theaters, lots of Italian imports. Scorsese, with his narration giving a personal as well as a public context, shows extended clips of these movies. Films of Rossellini and De Sica fill part one; those of Visconti, Fellini, and Antonioni comprise part two. Scorsese takes time with emotion, style, staging, technique, political context, and cinematic influence. It’s his movie family.
48 hours in the life of a burnt-out paramedic. Once called Father Frank for his efforts to rescue lives, Frank sees the ghosts of those he failed to save around every turn. He has tried everything he can to get fired, calling in sick, delaying taking calls where he might have to face one more victim he couldn’t help, yet cannot quit the job on his own.
The Tibetans refer to the Dalai Lama as ‘Kundun’, which means ‘The Presence’. He was forced to escape from his native home, Tibet, when communist China invaded and enforced an oppressive regime upon the peaceful nation of Tibet. The Dalai Lama escaped to India in 1959 and has been living in exile in Dharamsala ever since.