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Philosophy and Culture
Reference:

The Cast in the context of Martin Scorsese's directorial style

Shumov Maksim Vladimirovich

Associate Professor, Department of Directing and Choreography, Dostoevsky Omsk State University

644043, Russia, Omsk region, Omsk, Krasny Put str., 36

mvshumov@mail.ru
Other publications by this author
 

 

DOI:

10.7256/2454-0757.2024.3.70226

EDN:

GPJPQA

Received:

25-03-2024


Published:

05-04-2024


Abstract: Full-length and short independent feature films directed by Martin Scorsese are considered as the research material. The object of the study is the main elements of Martin Scorsese's directorial style. Throughout his creative career, the director under study, without fear, operates with numerous artistic techniques that today form the directorial style – broadcasting Christian motifs, cruelty combined with the beauty of the criminal world, eyes as an element of the hero's soul, using a mirror in the context of reflecting the other world of the character, narration through dreams and fantasies, as well as an abundance of editing solutions. The main attention is paid to the cast in the director's filmography, which correlates with the subject of this study. In this article, the author analyzed 33 films of the director that fall under the conditions of the study. The theoretical and methodological basis of the research was the works of domestic and foreign theorists and practitioners of cinematography, as well as film encyclopedias and film textbooks of the academic level. According to the results of the study, the author came to the conclusion that the director is committed to a permanent cast in his films. More than others, Martin Scorsese stars such actors as Robert De Niro, Catherine Scorsese, Charles Scorsese, Leonardo DiCaprio. The director puts himself at the top of this list. 430 actors took part in all the films studied, who appear in the director's filmography at least twice. In the films The Irishman (2019), The Wolf of Wall Street (2013), Goodfellas (1990), and Casino (1995) starred the largest number of recurring actors in the director's work. Also, in the course of our research, we found that the director in most of his films prefers to shoot not only himself, but also members of his family.


Keywords:

Martin Scorsese, directorial style, cast, Robert De Niro, Leonardo DiCaprio, actors, casting, acting, filmography, creative range

This article is automatically translated.

The director's handwriting of Martin Scorsese. The object of the study

Director Martin Scorsese grew up in a family of devout Catholics and, as you know, had every chance to become a priest. Fortunately for us, the cinema captured the teenager in time and the question of service disappeared by itself. However, having taken up directing, Martin never forgot about his past, and often placed a particular story in a religious context. So in the debut feature film "Who's knocking on my Door?" the main character J.R. (orig. J.R.) suffers from what psychologists today would call the Madonna or harlot complex. In his mind there is an idealized image of a woman – pure, virtuous and devoted. At the same time, his sexual fantasies do not fit in with high ideals in any way. Later we will see that the visual clash of the high and the low will become one of the most important themes for Scorsese, and Christian symbolism will run through most of his films with the help of numerous allusions, references and quotations [1],[2].

Martin Scorsese is clearly not one of those directors who unfold the narrative in small cozy towns. An aggressive, vicious, violent environment is fundamentally important to him. After all, it is she who shapes the characters of his films. Most often, Scorsese chooses New York as the place of action. There is not a drop of romanticism in the way the director portrayed the metropolis. Bandits, murderers and mafiosi often become the objects of his attention. They run their business in the stone jungle and follow their harsh laws, according to which violence is the norm, and the question of survival is a simple matter of routine. By the way, Scorsese shoots many scenes at night, emphasizing the sinister nature of the metropolis with billboard lights, flashing bar signs and sliding headlights. The night city absorbs everything and everyone. He captures the heroes and feeds on them like a living organism.

A rare Scorsese film dispenses with eyes highlighted by an unchanging close-up. Already in the first film, the director repeatedly refers to this win-win technique, but does it from two fundamentally different positions. In the first case, the hero does not notice the camera, no matter how close it gets. In another, Scorsese destroys the invisible fourth wall separating the character from the viewer - now he looks directly into the auditorium, addresses us personally [3].

Another recurring motif in Scorsese's films is the hero looking in the mirror and, moreover, having a frank conversation with him. To answer the question of why it is so important for a director to leave the characters alone, let's recall personal experience. When else are we so defenseless, so open and truthful - in front of a mirror. It is difficult and unnecessary for a person to lie, and therefore the director uses a mirror as a kind of standard of truthfulness. It is not surprising that such shots most often appear in the director's key dramatic scenes [4].

In his best films, Scorsese has repeatedly embodied the fantasies, dreams and fantasies of his characters on the screen. It is enough to recall the movie "The Sorcerer", the comic flashbacks "The Wolf of Wall Street", or the famous nightmare of DiCaprio's character in "Island of the Damned", when the subconscious gives the characters hints, turning them into vivid images.

If some directors try not to focus on editing, I use it simply as a way to connect the frames together, Scorsese does exactly the opposite. His installation often consists of almost open seams, freeze frames, surges, repetitions, rapid zooms and no less spectacular departures. Later, other techniques will replenish this arsenal of expressive means. For example, a quick camera transfer, an iris aperture that captures an object in a circle, or a flashbulb, under which it is so convenient to connect shots from social parties or fatal fights. "... a good example of unmotivated camera movement is Martin Scorsese's The Irishman. In the very first frame, which lasts a minute and a half, the cameraman, Rodrigo Prieto, in Scorsese's signature style, wanders for a long time through the corridors of the nursing home, looks into wards and corners, looking for his character among the elderly and medical staff."[5]

Martin Scorsese knows how to show the beauty and ugliness of the underworld like no other. He always presents the story in a detached, non-judgmental way, so that the viewer chooses the side to empathize with - the good guys or the bad ones. We understand who these people are, why they do what they do and how they came to this. All this appears in a very tempting and attractive light. And from that, at first it may seem that Scorsese romanticizes crime, that his plots are very simple and do not carry any deep morality. But why does Martin Scorsese so often use real stories or distorted prototypes of real personalities in his films? He was doing it before it became mainstream. Before the inscription "based on real events" for some reason should make the film more attractive [6].

The relationships in the team on the set can be very different: friendly, working, hostile and even related. The success of the whole process largely depends on this. Directors often choose for their paintings those actors with whom it is convenient for them to work, therefore it is possible to trace a certain love of a particular master, the frequent repetition of faces in his paintings. Timur Bekmambetov often shoots Konstantin Khabensky, Sergei Bezrukov, but Eldar Ryazanov invited Lyudmila Gurchenko and Liya Akhedzhakova to his paintings. Of the foreign star teams, the charismatic Johnny Depp in Tim Burton's films immediately comes to mind. At the same time, each new film revealed a new side to the game of this wonderful actor. And Burton himself said that it was in the diversity of Johnny's images that his true beauty lay. At the same time, this tandem exists not only on the set. Friendship has even grown into a family relationship. And now the incomparable Johnny is the godfather of the children of the world-famous director for his originality. All this proves that the way a director interacts with actors is also part of his style or directorial handwriting.

Next, in the study, we will analyze the cast in the work of Martin Scorsese.

 

The acting solution of the film in the director's work of Martin Scorsese. The subject of the study

 

At the moment, Martin Scorsese has directed a total of 67 films, including documentaries, short films, music, commercials and multi-series. Since our research is devoted to the cast of films, we will be interested only in independent feature films by the director, including short films. Martin Scorsese has 33 such films. Let's analyze each of them for recurring actors and conclude with a conclusion about the director's acting preferences. Note that in the text of the article we will indicate only those actors who appeared in Scorsese films more than once. Moreover, any appearance of an actor in the film is indicated – in the main role, in an episode, without indicating in the credits and dubbing. In curly brackets (for example, {1}), we will indicate the number corresponding to the ordinal number of the actor's role in the context of the creativity of the director under study, in order to trace the stages of the actor's work with the director [7].

Let's start the research.

1) Vesuvius VI (Orig. Vesuvius VI) (1959)

Cast: there are no recurring actors.

2) What is such a beautiful girl doing in such a place? (Orig. What's a Nice Girl Like You Doing in a Place Like This?)  (1963)

Starring: Robert Uricola {1}.

3) It's not just you, Murray! (Orig. It's Not Just You, Murray!) (1964)

Starring: Robert Uricola {2}, Victor Magnotta {1}, Catherine Scorsese {1}, Mardik Martin (Mardik Martin) is not listed in the credits {1}, Dominic Greco (Dominick Grieco) is not listed in the credits {1}.

4) Shaving big (Orig. The Big Shave) (1967)

Cast: there are no recurring actors.

5) Who is knocking on my door? (Orig. Who's That Knocking at My Door) (1967)

Starring: Robert Uricola {3}, Catherine Scorsese {2}, Victor Magnotta (credits: Vic Magnotta) {2}, Bill Minkin {1}, Harry Northup {1}, Martin Scorsese (Martin Scorsese) is not listed in the credits {1}, Harvey Keitel (Harvey Keitel) {1}.

6) Bertha, nicknamed "Boxcar" (Orig. Boxcar Bertha) (1972)

Starring: Harry Northup (credits: Harry Northrup) {2}, Martin Scorsese (Martin Scorsese) uncredited {2}, Barbara Hershey (Barbara Hershey) {1}, Barry Primus (Barry Primus) {1}, Victor Argo (Victor Argo) {1}, David Carradine {1}.

7) Evil Streets (Orig. Mean Streets) (1973)

Starring: Harry Northup {3}, Martin Scorsese (Martin Scorsese) is not listed in the credits {3}, Catherine Scorsese (Catherine Scorsese) is not listed in the credits {3}, David Carradine {2}, Victor Argo (Victor Argo (in the credits: Vic Argo)) {2}, Harvey Keitel (Harvey Keitel) {2}, George Memmoli (George Memmoli) {1}, Murray Moston (Murray Mosten (credits: Murray Mosten)) {1}, Peter Fain (Peter Fain) {1}, Robert De Niro (Robert De Niro) {1}.

8) Alice doesn't live here anymore (Orig. Alice Doesn't Live Here Anymore) (1974)

Starring: Harry Northup {4}, Harvey Keitel {3}, Murray Moston {2}, Jodie Foster {1}, Dean Casper (Dean Casper) is not listed in the credits {1}.

9) Taxi driver (Orig. Taxi Driver) (1976)

Starring: Harry Northup (Harry Northup) {5}, Martin Scorsese (Martin Scorsese) {4}, Catherine Scorsese (Catherine Scorsese) is not listed in the credits {4}, Harvey Keitel (Harvey Keitel) {4}, Victor Argo (Victor Argo (in the credits: Vic Argo)) {3}, Victor Magnotta (in credits: Vic Magnotta)) {3}, Murray Moston (in credits: Murray Mosten)) {3}, Jodie Foster (Jodie Foster) {2}, Robert De Niro (Robert De Niro (in credits: Robert DeNiro)) {2}, Bill Minkin {2}, Peter Savage {1}, Anton Pagan (Antone Pagan) not listed in the credits {1}, Dianne Abbott (Diahnne Abbott (in the credits: Diahnne Abbot)) {1}, Joseph Bergmann (Joseph Bergmann) uncredited {1}, David Nichols uncredited {1}, Steven Prince {1}, Charles Scorsese uncredited {1}.

10. New York, New York (Orig. New York, New York) (1977)

Starring: Harry Northup {6}, Murray Moston {4}, Robert De Niro {3}, Dianne Abbott {2}, George Memmoli {2}, Barry Primus) {2}, David Nichols {2}, Peter Savage {2}, Mardik Martin {2}, Steven Prince {2}, Peter Fain {2}, Angelo Lamonea) {1}, Dick Miller {1}, Richard A. Berk (credits: Richard Alan Berk) {1}, Margo Winkler {1}, Liza Minnelli {1}, Ottaviano Dell’Accva (Ottaviano Dell'Acqua) is not listed in the credits {1}, Bob Harks is not listed in the credits {1}, Frank Sivero (Frank Sivera (in the credits: Frank Sivera)) {1}.

11) The Raging Bull (Orig. Raging Bull) (1980)

Starring: Martin Scorsese (Martin Scorsese) {5}, Robert Uricola (Robert Uricola) {4}, Robert De Niro (Robert De Niro) {4}, Victor Magnotta (Victor Magnotta) {4}, Mardik Martin (Mardik Martin) {3}, Peter Savage (Peter Savage) {3}, Peter Fain {3}, Richard A. Berk {2}, Angelo Lamonea (Angelo Lamonea) is not listed in the credits {2}, Joseph Bergmann (Joseph Bergmann) is not listed in the credits {2}, Bob Harks (Bob Harks) not listed in the credits {2}, Charles Scorsese {2}, Joe Pesci {1}, Daniel P. Conte {1}, Joseph Bono {1}, John Turturro (John Turturro) in the credits listed {1}, Roger Brenner (Roger Brenner) is not listed in the credits {1}, Frank Adonis (Frank Adonis) {1}, Frank Vincent (Frank Vincent) {1}, Shay Duffin (Shay Duffin) {1}.

12) The King of Comedy (Orig. The King of Comedy) (1982)

Starring: Martin Scorsese (Martin Scorsese) {6}, Catherine Scorsese (Catherine Scorsese) {5}, Robert De Niro (Robert De Niro) {5}, Mardik Martin (Mardik Martin) {4}, Peter Fain (Peter Fain) {4}, Bill Minkin (Bill Minkin) {3}, Charles Scorsese {3}, Dianne Abbott {3}, Liza Minnelli {2}, Margo Winkler {2}, Kim Chan {1}, Katherine Wallach) {1}, Cathy Scorsese {1}, Richard Dioguardi {1}, Mary Elizabeth Mastrantonio (Mary Elizabeth Mastrantonio) is not listed in the credits {1}, Chuck Low (Chuck Low (in the credits: Chuck L. Low)) {1}.

13) After work (Orig. After Hours) (1985)

Starring: Martin Scorsese (Martin Scorsese) is not listed in the credits {7}, Catherine Scorsese (Catherine Scorsese) is not listed in the credits {6}, Victor Magnotta (Victor Magnotta) {5}, Murray Moston (Murray Moston) {5}, Victor Argo (Victor Argo) {4}, Charles Scorsese {4}, Margo Winkler {3}, Dick Miller {2}, Verna Bloom {1}, Frank Aquilino {1}.

14) The color of money (Orig. The Color of Money) (1986)

Starring: Martin Scorsese (Martin Scorsese) dubbing, uncredited {8}, Charles Scorsese (Charles Scorsese) {5}, John Turturro (John Turturro) {2}, Mary Elizabeth Mastrantonio (Mary Elizabeth Mastrantonio) {2}, Paul Herman (Paul Herman) {1}, James M. Huffman (James Huffman) is not listed in the credits {1}.

15) The Last Temptation of Christ (Orig. The Last Temptation of Christ) (1988)

Starring: Harvey Keitel {5}, Victor Argo {5}, Barbara Hershey {2}, Verna Bloom {2}, Paul Herman {2}, Gary Basaraba {1}, Giovanni Cianfriglia {1}, Illyana Douglas (Illeana Douglas) dubbing {1}, Leo Burmester {1}, Peter Berling {1}, Willem Dafoe {1}.

16) Nice guys (Orig. Goodfellas) (1990)

Starring: Catherine Scorsese {7}, Robert De Niro (Robert De Niro) {6}, Charles Scorsese (Charles Scorsese) {6}, Peter Fain (Peter Fain) {5}, Margot Winkler (Margo Winkler) {4}, Paul Herman (Paul Herman) {3}, Joseph Bono {2}, Joe Pesci {2}, Frank Adonis {2}, Illeana Douglas {2}, Katherine Wallach {2}, Frank Aquilino) {2}, Daniel P. Conte {2}, Richard Dioguardi {2}, Frank Sivero {2}, Frank Vincent {2}, Chuck Low {2}, Ronald Maccone (Ronald Maccone) {1}, Doug Ferony is not listed in the credits {1}, Bo Dietl (in the credits: Richard "Bo" Dietl)) {1}, Vito Picone {1}, Garry Pastore (in the credits: Garry Blackwood)) {1}, Jerry Vale {1}, Joseph Oliveira (Joseph Oliveira) uncredited {1}, John Manca {1}, Kevin Corrigan {1}, Clem Caserta {1}, Melissa Prophet {1}, Welker White {1}, Philip Suriano {1}, Frank Stellato (Frank Stellato) is not listed in the credits {1}, Frank Ferruccio (Frank Ferruccio) is not listed in the credits {1}.

17) Cape of Fear (Orig. Cape Fear) (1991)

Starring: Catherine Scorsese {8}, Robert De Niro {7}, Charles Scorsese {7}, Illeana Douglas {3}, Domenica Cameron-Scorsese (in the credits: Domenica Scorsese)) {1}, Linda Perry {1}.

18) The Age of Innocence (Orig. The Age of Innocence) (1993)

Starring: Martin Scorsese (Martin Scorsese) is not listed in the credits {9}, Catherine Scorsese (Catherine Scorsese) is not listed in the credits {9}, Charles Scorsese (Charles Scorsese) is not listed in the credits {8}, Domenica Cameron-Scorsese (Domenica Cameron-Scorsese (in the credits: Domenica Scorsese)) {2}, Alec McCowen {1}, Mary Beth Hurt {1}, Daniel Day-Lewis {1}, John Maczko (John Maczko) uncredited {1}, Pasquale Caiano (Pasquale Cajano) is not listed in the credits {1}.

19) Casino (Orig. Casino) (1995)

Starring: Catherine Scorsese {10}, Robert De Niro {8}, Paul Herman {4}, Daniel P. Conte {3}, Frank Adonis {3}, Joseph Bono (Joseph Bono) {3}, Joe Pesci {3}, Frank Vincent {3}, Clem Caserta {2}, John Manca {2}, Jerry Vale {2}, Frank Ferruccio (Frank Ferruccio) is not listed in the credits {2}, Linda Perry {2}, Melissa Prophet {2}, Philip Suriano (Philip Suriano (in the credits: Phillip Suriano)) {2}, Dominick Greco (Dominick Grieco) {2}, Dean Kasper (Dean Casper) {2}, Cathy Scorsese (credits: Catherine T. Scorsese)) {2}, Pasquale Cajano {2}, Ronald Maccone {2}, John Maczko (uncredited) {2}, Craig Vincent {1}, Alfred Nittoli {1}, Arnold Monty (Arnold Monty) uncredited {1}, Vinny Vella {1}, Joseph P. Reidy (Joseph P. Reidy (credits: Joseph Reidy)) {1}, Charlene Hunter {1}.

20) Kundun (Orig. Kundun) (1997)

Starring: Kim Chan {2}, Henry Yuk {1}, Yoon C. Joyce (Yoon C. Joyce) is not listed in the credits {1}.

21) Raising the dead (Orig. Bringing Out the Dead) (1999)

Starring: Martin Scorsese (Martin Scorsese) dubbing {10}, Joseph P. Reidy (Joseph P. Reidy (credits: Joseph Reidy)) {2}, Charlene Hunter {2}, Anton Pagan {2}, Mary Beth Hurt {2}, Larry Fessenden {1}, Brian Smyj) the credits do not include {1}, Terry Serpico {1}.

22) Neighborhood (Orig. The Neighborhood) (2001)

Cast: there are no recurring actors.

23) Gangs of New York (Orig. Gangs of New York) (2002)

Starring: Martin Scorsese (Martin Scorsese) uncredited {11, }Katherine Wallach (Katherine Wallach) {3}, Joseph P. Reidy (Joseph P. Reidy (credits: Joseph Reidy)) {3}, Daniel Day-Lewis {2}, Giovanni Cianfriglia (uncredited) {2}, Alec McCowen (credits: Alec McCowen) {2}, Yun Xi Joyce (Yoon C. Joyce) is not listed in the credits {2}, Peter Berling {2}, Leo Burmester (in the credits: Leo Burmeister)) dubbing {2}, Ottaviano Dell’Accva (Ottaviano Dell'Acqua) is not listed in the credits {2}, Arnold Monty (Arnold Monty) is not listed in the credits {2}, Blaise Corrigan (Blaise Corrigan) is not listed in the credits {1}, John C. Reilly (John C. Reilly) {1}, Stephen Graham {1}, Larry Kaplan {1}, Leonardo DiCaprio {1}, Liam Neeson {1}, R. Bruce Steinheimer (R. Bruce Steinheimer (credits: Bruce Steinheimer)) {1}.

24) Aviator (Orig. The Aviator) (2004)

Starring: Martin Scorsese (Martin Scorsese) dubbing, uncredited {12}, Joseph P. Reidy (Joseph P. Reidy (credits: Joseph Reidy)) {4}, Frank Sivero (Frank Sivero) is not listed in the credits {3}, John C. Reilly (John C. Reilly) {2}, Willem Dafoe (Willem Dafoe) {2}, Leonardo DiCaprio (Leonardo DiCaprio) {2}, R. Bruce Steinheimer (R. Bruce Steinheimer) in the credits not specified {2}, Alec Baldwin {1}, Vince Giordano (in credits: Vince J. Giordano)) {1}, J.C. MacKenzie (J.C. MacKenzie) {1}, Joe Crest (Joe Chrest) {1}, Jude Law (Jude Law) {1}, Kevin O'Rourke {1}, Nellie Sciutto {1}, Sebastian Tillinger {1}, Francesca Scorsese {1}, Edward Herrmann {1}.

25) Apostates (Orig. The Departed) (2006)

Starring: Joseph P. Reidy (Joseph P. Reidy (credits: Joseph Reidy)) {5}, Arnold Monty (Arnold Monty) is not listed in the credits {3}, Leonardo DiCaprio (Leonardo DiCaprio) {3}, J.C. MacKenzie (J.C. MacKenzie) {2}, Kevin Corrigan (Kevin Corrigan) {2}, Henry Yuk (Henry Yuk) {2}, Alec Baldwin {2}, Joseph Oliveira (Joseph Oliveira) uncredited {2}, Shay Duffin (Shay Duffin) {2}, Terry Serpico (Terry Serpico) {2}, Brian Smyj (Brian Smyj) {2}, Nellie Sciutto (Nellie Sciutto) {2}, Francesca Scorsese (Francesca Scorsese) {2}, Armen Garo (Armen Garo) {1}, Mark Falvo (Mark Falvo) is not listed in the credits {1}, Dave Thompson (Dave Thompson) is not listed in the credits {1}, Billy Silvia uncredited {1}, Billy Smith {1}, Robert "Toshi" Kar Yuen Chan (credits: Robert Chan) {1}, Michael Byron {1}, Jeffrey Corazzini) uncredited {1}, Jill Brown {1}, Dennis Lynch {1}, Lyman Chen {1}, Joseph Riccobene {1}, John Polce (in the credits: John J. Polce)) {1}, John Rue {1}, Ray Winstone {1}, John Franchi (John Franchi) is not listed in the credits {1}, John Cenatiempo (John Cenatiempo) {1}, David Boston (David Boston) is not listed in the credits {1}, Darryl Wooten is not listed in the credits {1}, Mackenzie Hawe is not listed in the credits {1}, Tom Kemp {1}, Thomas B. Duffy {1}.

26) The key to the Reserves (Orig.The Key to Reserva) (2007)

Starring: Martin Scorsese (Martin Scorsese) uncredited {13}, Nellie Sciutto (Nellie Sciutto) {3}, Christopher Denham (Christopher Denham) {1}, Michael Stuhlbarg (Michael Stuhlbarg) {1}, Ted Griffin (Ted Griffin) {1}.

27) The Island of the Damned (Orig. Shutter Island) (2009)

Starring: Joseph P. Reidy (Joseph P. Reidy (credits: Joseph Reidy)) {6}, Leonardo DiCaprio {4}, Nellie Sciutto {4}, Arnold Monty (Arnold Monty) uncredited {4}, Dennis Lynch {2}, Darryl Wu (Darryl Wooten) {2}, Thomas B. Duffy (Thomas B. Duffy) {2}, Michael Byron (Michael Byron) {2}, Mackenzie Hawe (Mackenzie Hawe) uncredited {2}, Christopher Denham (Christopher Denham) {2}, Billy Silvia (Billy Silvia) in uncredited {2}, Tom Kemp {2}, Jeffrey Corazzini (Jeffrey Corazzini) uncredited {2}, John Franchi (John Franchi) uncredited {2}, Steve Witting (Steve Witting) {1}, Ben Kingsley (Ben Kingsley) {1}, Samantha Kelly (Samantha Kelly) is not listed in the credits {1}, Emily Mortimer (Emily Mortimer) {1}.

28) The Time Keeper (Orig. Hugo) (2011)

Starring: Martin Scorsese (Martin Scorsese) uncredited {14}, Francesca Scorsese (Francesca Scorsese) {3}, Ben Kingsley (Ben Kingsley) {2}, Jude Law (Jude Law) {2}, Michael Stuhlbarg (Michael Stuhlbarg) {2}, Ray Winston (Ray Winstone) {2}, Emily Mortimer {2}.

29) The Wolf of Wall Street (Orig. The Wolf of Wall Street) (2013)

Starring: Leonardo DiCaprio (Leonardo DiCaprio) {5}, j.With. MacKenzie (J. C. MacKenzie (in the credits: J. C. Mackenzie)) {3}, Alec Baldwin (Alec Baldwin) {3}, Joseph Oliveira (Joseph Oliveira) uncredited {3}, mark Favlo (Mark Falvo) uncredited {3}, s?bastien Tellinger (Sebastian Tillinger) {2}, Garry Pastore (Garry Pastore) {2}, James M. Huffman (Huffman James) uncredited {2}, Samantha Kelly (Samantha Kelly) in the credits not specified {2}, Steve Whittingham (Steve Witting) {2}, Armen Garo (Armen Garo) {2} and Edward Herrmann (Edward Herrmann) (voice){2}, Welker white (Welker White) {2}, Ditl Bo (Bo Dietl) {2}, Ted Griffin (Ted Griffin) {2} mark Favlo (Mark Falvo) uncredited {2}, Meghan Rafferty (Meghan Rafferty) {1}, Lawrence Smith (Lawrence Smith) {1}, Rutman Steve (Steve Routman) {1}, hartanti of Steve (Steve Garfanti) uncredited {1}, Curcuma Stephanie (Stephanie Kurtzuba) {1}, Venaria Louis (Louis Vanaria) {1}, Matthew McConaughey (Matthew McConaughey) {1}, Rick Bolander (Rick Bolander) uncredited {1}', Dave Thompson (Dave Thompson) uncredited {2}, David Wenzel (David Wenzel) uncredited {1}, Mario Corry (Corry Mario) uncredited {1}, Jerry Lobrow uncredited {1}, John Bernard Martin {1}', Danny A. Abeckaser (Danny A. Abeckaser) {1}, Jake Hoffman (Jake Hoffman) {1}, Kenneth Carrel (Kenneth Carrella) uncredited {1}, Jon Douglas Rainey (Jon Douglas Rainey) uncredited {1}, Honulik Jacqueline (Jacqueline Honulik) try not specified, {1}, Corapi Richard R. (Richard R. Corapi) uncredited {1}, End Palladino (And Palladino) uncredited {1}.

30) Samples (Orig. The Audition) (2015)

Starring: Martin Scorsese {15}, Robert De Niro (Robert De Niro) {9}, Leonardo DiCaprio (Leonardo DiCaprio) {6}, Robert "Toshi" Kar Yuen Chan (Robert "Toshi" Kar Yuen Chan (credits: Robert Toshi Chan)) {2}, Lyman Chen {2}, Ron Nakahara {1}, Marko Caka (Marko Caka) is not listed in the credits {1}.

31) Silence (Original Silence) (2016)

Starring: Liam Neeson {2}.

32) The Irishman (Orig. The Irishman) (2019)

Starring: Robert De Niro (Robert De Niro) {10}, Harvey Keitel (Harvey Keitel) {6}, Paul Herman (Paul Herman) {5}, Joseph Oliveira (Joseph Oliveira) uncredited {4}, Joseph Bono (Joseph Bono) {4}, Joe Joe Pesci {4}, J.C. MacKenzie {4}, Harry Pastore {3}, Welker White {3}, Barry Primus {3}, Bo Dietl {3}, Frank Aquilino {3}, Joseph Riccobene {2}, Stephanie Kurtzuba {2}, John Rue {2}, Billy Smith {2}, Frank Stellato in uncredited {2}, Gary Basaraba {2}, Danny A. Abeckaser {2}, Doug Ferony uncredited {2}, Jake Hoffman {2}, John Polce {2}, Craig Vincent (Craig Vincent) {2}, John Cenatiempo {2}, Vinny Vella {2}, Vito Picone {2}, Meghan Rafferty {2}, Mario Corry {2}, Philip Suriano (credits: Phil Suriano)) {3}, Steve Garfanti (Steve Garfanti) is not listed in the credits {2}, Louis Vanaria (Louis Vanaria) {2}, End Palladino (And Palladino) is not listed in the credits {2}, Steve Routman (Steve Routman) {2},  Lawrence Smith {2}, Jill Brown {2}, Rick Bolander (Rick Bolander) is not listed in the credits {2}, Richard R. Corapi (Richard R. Corapi) is not listed in the credits {2}, Marko Caka (Marko Caka) is not listed in the credits {2}, Roger Brenner (uncredited) {2}, Steve Witting (Steve Witting) {3}, Jerry Lobrow (uncredited) {2}, John Bernard Martin (uncredited: Bernie Martin) {2}, Alfred Nittoli (Alfred Nittoli) {2}, Kevin O'Rourke {2}, Blaise Corrigan {2}, Kenneth Carrella (Kenneth Carrella) is not listed in the credits {2}, David Wenzel (David Wenzel) is not listed in the credits {2}, Jacqueline Honulik (Jacqueline Honulik) in the credits not listed {2}, John Douglas Rainey (Jon Douglas Rainey) is not listed in the credits {2}, Roger Brenner (Roger Brenner) {2} is not listed in the credits David Boston (David Boston) is not listed in the credits {2}, Brent Langdon (Brent Langdon) {1}, Jesse Jesse Plemons {1}, Louis Cancelmi {1}, Stephen Graham {1}.

33) Killers of the Flower Moon (Orig. Killers of the Flower Moon) (2023)

Starring: Martin Scorsese {16}, Robert De Niro {11}, Leonardo DiCaprio {7}, J.C. MacKenzie {5}, Steve Witting {4}, Welker Welker White {4}, Gary Basaraba {3}, Steve Routman {3}, Brent Langdon {2}, Vince Giordano {2}, Jesse Plemons {2}, Joe Joe Chrest {2}, Larry Fessenden {2}, Louis Cancelmi {2}.

Based on the analysis obtained, we will compile a summary table of the "Scorsese" actors and their roles. Let's sort the graphs of the table relative to the number of roles in descending order. Let's include the first 14 positions in the table by the number of roles. We refer to the rest of the actors in the text of the study.

Table 1. Summary table of actors and their number of roles

¹

pp

Actor

Quantity

roles

1

Martin Scorsese

16

2

Robert De Niro

11

3

Catherine Scorsese

10

4

Charles Scorsese

8

5

Leonardo DiCaprio

7

6

Harry Northup

6

7

Joseph P. Reidy (Joseph P. Reidy

6

8

Harvey Keitel

6

9

Victor Argo

5

10

Victor Magnotta

5

11

J.C. MacKenzie

5

12

Murray Moston

5

13

Peter Fain

5

14

Paul Herman

5

            In total for the entire period (approx. at the time of writing) directed by Martin Scorsese (from 1959 to 2023), 430 actors played more than one role in his films, including the director himself, which proves the director's desire to work with the same, albeit large, group of actors. "Another ingredient of a good Scorsese film can be considered for the most part a stable cast and crew. Martin prefers to work with those in whom he is confident and with people close in spirit."[8]

As we can see from the table, the most significant and favorite actors for Martin Scorsese are Robert De Niro (Robert De Niro) – 11 films, Catherine Scorsese (Catherine Scorsese) – 10 films, Charles Scorsese (Charles Scorsese) – 8 films, Leonardo DiCaprio (Leonardo DiCaprio) – 7 films. The director himself is also not averse to acting in his films and ranks first in the rating of the main actors – 16 films.

During the study, it was found that a large number of actors, namely 96, were not listed in the credits for Martin Scorsese films for various reasons. "As long as the film industry has existed, its employees have been playing tricks in the credits. And if this is a familiar thing for actors and is often associated with euphony [...], then for directors, the use of pseudonyms may be dictated by special circumstances" [9].  In order to get a complete picture of the acting works in the director's filmography, we turned to various film encyclopedias and film guides [10],[11],[12].

Also note that several actors, namely 6, participate in Martin Scorsese films as voice actors and do not appear on the screen.

Table 2. Summary table of voice actors

¹

pp

Voice actor

Film

1

Martin Scorsese

The Color of Money (1986) The Color of Money

Raising the Dead (1999) Bringing Out the Dead

The Aviator (2004) The Aviator

2

Illeana Douglas

The Last Temptation of Christ (1988) The Last Temptation of Christ

3

Leo Burmester (in the credits: Leo Burmeister))

Gangs of New York (2002) Gangs of New York

4

Edward Herrmann

The Wolf of Wall Street (2013) The Wolf of Wall Street

         In the course of the research, actors who have repeatedly starred in Martin Scorsese films have been identified. Let's list them in the summary table. Let's sort the graphs of the table relative to the number of roles in descending order.

Table 3. Summary table of recurring actors in Martin Scorsese films

¹

pp

Film

Number of recurring actors

1

The Irishman (2019) The Irishman

55

2

The Wolf of Wall Street (2013) The Wolf of Wall Street

36

3

The Apostates (2006) The Departed

35

4

Nice Guys (1990) Goodfellas

32

5

Casino (1995) Casino

27

6

Raging Bull (1980) Raging Bull

20

7

New York, New York (1977) New York, New York

19

8

Gangs of New York (2002) Gangs of New York

18

9

Island of the Damned (2009) Shutter Island

18

10

Taxi Driver (1976) Taxi Driver

17

11

The Aviator (2004) The Aviator

17

12

The King of Comedy (1982) The King of Comedy

16

13

Killers of the Flower Moon (2023) Killers of the Flower Moon

13

14

The Last Temptation of Christ (1988) The Last Temptation of Christ

11

15

Mean Streets (1973) Mean Streets

10

16

After Work (1985) After Hours

10

17

The Age of Innocence (1993) The Age of Innocence

9

18

Raising the Dead (1999) Bringing Out the Dead

8

19

Who's knocking on my door? (1967) Who's That Knocking at My Door

7

20

The Time Keeper (2011) Hugo

7

21

Audition (2015) The Audition

7

22

Bertha, nicknamed "Boxcar" (1972) Boxcar Bertha

6

23

The Color of Money (1986) The Color of Money

6

24

Cape Fear (1991) Cape Fear

6

25

Alice Doesn't Live Here Anymore (1974) Alice Doesn't Live Here Anymore

5

26

The Key to Reserves (2007) The Key to Reserves

5

27

It's not just you, Murray! (1964) It's Not Just You, Murray!

5

28

Kundun (1997) Kundun

3

29

Silence (2016) Silence

1

30

What's a Nice Girl Like You Doing in a Place Like This? What is such a beautiful girl doing in such a place? (1963)

1

31

Vesuvius VI Vesuvius VI (1959)

0

32

Shaving Big (1967) The Big Shave

0

33

The Neighborhood (2001) The Neighborhood

0

         It can be seen from the table that Martin Scorsese in his films, as we have already mentioned, very often refers to proven actors. So, the director shot the most recurring actors in the films "The Irishman (2019) (Orig. The Irishman") - 55 actors, "The Wolf of Wall Street (2013) Orig. The Wolf of Wall Street") - 36 actors, "The Apostates (2006) (Orig. The Departed") - 35 actors, "Nice Guys (1990) (Orig. Goodfellas") - 32 actors and "Casino (1995) (Orig. Casino") - 27 actors.

Also, in the course of our research, we found that the director prefers to shoot not only himself in most of his films (see tab. 1), but also members of his family. To visually present the information, we will make a table.

Table 4. The appearance of members of the Scorsese family in the director's films

¹

pp

An actor from the Scorsese family

Number of film roles

1

Martin Scorsese – Director

16

2

Catherine Scorsese is the director's mother

10

3

Charles Scorsese is the director's father

8

4

Francesca Scorsese is the director's daughter

3

5

Cathy Scorsese is the director's daughter

2

          "Sometimes it seems that Marty invited his mom to another movie just because she was an amazing cook. Pies, pasta, pizza, pastries and many other dishes with a national flavor made Catherine famous throughout Hollywood. The actors were waiting for her appearance on the set with special impatience, and the film crew could not wait until the break between scenes" [13].

 

The originality of the cast in Martin Scorsese's filmography. Conclusion of the study

 

Martin Scorsese's films shock, keep in suspense, penetrate into the depths of the soul and cling even after watching. He is called the master of gangster films, able to show cruelty gracefully. And the works he shot occupy a leading position and do not go unnoticed. Let's figure out what kind of magic the director uses when creating his unique films. Many of Martin Scorsese's films have become a symbolic point of reflection on his life stages. Interestingly, before making a choice in favor of the profession of a filmmaker, Martin seriously thought about being a priest, but secular life and cinema interested him no less than serving the covenant. In his works, he managed to combine the desire for absolute morality and the sometimes cruel truth about the modern world. Now he is rightfully recognized as one of the best directors of our time. How does he do it?

Throughout his career, Martin Scorsese, without fear, operates with numerous artistic techniques that today form the director's style and director's handwriting – Christian motifs, cruelty combined with the beauty of the world, eyes as an element of the hero's soul, the use of a mirror in the context of reflecting the hero's other world, narration through dreams and fantasies, as well as an abundance of editing solutions in the movies. The main focus of the study was on analyzing the acting decisions of Martin Scorsese's films.

In the process of analysis, we came to the conclusion that Martin Scorsese prefers familiar, proven actors in his films. So, in the films under study (approx. 33 films) were attended by 430 actors who appear in the director's filmography at least twice. More than others, Martin Scorsese stars Robert De Niro, Catherine Scorsese, Charles Scorsese, Leonardo DiCaprio, as well as the director himself.

At the same time, it should be noted that Martin Scorsese prefers to annoy his family members in his films. So, the director's mother starred in 10 films, the director's father in 8 films, the director's youngest daughter in 3 films, and the eldest daughter in 2 films. Martin Scorsese himself holds the leading position with a score of 16 films.

Exploring the uniqueness of the cast in Martin Scorsese's films, we found that the largest number of recurring actors starred in the films The Irishman (2019) (Orig. The Irishman) – 55 actors, The Wolf of Wall Street (2013) (Orig. The Wolf of Wall Street), The Apostates (2006) (Orig.The Departed) – 35 actors. As you know, these films are the most famous and highly noted in the late work of Martin Scorsese.

As for the main roles, there is no doubt (and research has shown this) Martin Scorsese considers not one, but two actors – Robert De Niro and Leonardo DiCaprio - to be his mascot. Continuing to make films, Scorsese is unlikely to change his style and the themes that he studied during his career, and both of his favorites will surely delight moviegoers from all over the world with their wonderful acting work in the film of a living legend. And although Scorsese himself is no longer young, his directorial talent does not become obsolete even fifty years after his debut. Martin Scorsese is a director out of time, and very few filmmakers can boast of the same [14],[15].

References
1. Agafonova, N.A. (2008). General theory of cinema and the basics of film analysis. Minsk: Theseus.
2. LoBrutto, Vincent. (2008). Martin Scorsese: A Biography. Greenwood Publishing Group.
3. Zorkaya, N. (2010). Kino. Theatre. Literature. The experience of system analysis. Moscow: Agraf.
4. Omon, J., Bergala, A., Marie, M., & Vernet, M. (2012). Aesthetics of the film. Moscow: New Literary Review.
5. Alzhambayev, D. T. (2022). Camera movement as an additional way of narration. Universum: Philology and Art History, 5(95), 4-9.
6. Dzen. (2023). The Wolf of Wall Street or how to betray yourself. Retrieved from https://dzen.ru/a/Y9AGvfNCvmI4UY-P
7. Shumov, M.V. (2019). The originality of the cast in the directorial work of Nikita Mikhalkov. The cultural space of the Russian world, 1(19), 102-110.
8. Zapesotskaya, Daria. (2020). The director's handwriting of Martin Scorsese. Retrieved from https://fake-mm.com/articles/MartinScorseze
9.  Smolev, Daniil. (2017). Films without authors: Why directors remove their name from the credits. Retrieved from https://www.kinopoisk.ru/media/article/2970184
10.  Russian online edition about cinema. (2024). Retrieved from https://www.kinopoisk.ru
11Internet Movie Database. (2024). Retrieved from https://www.imdb.com
12Russian online encyclopedia of cinema. (2024). Retrieved from http://www.kinoexpert.ru
13. Smolev, Daniil. (2017). And his mother too: The mothers of directors who starred in their sons' films. Retrieved from https://www.kinopoisk.ru/media/article/2906155
14. Marshalko, Roman. (2020). The icon of American cinema: how and what Martin Scorsese is shooting about. Retrieved from https://dtf.ru/cinema/236249-ikona-amerikanskogo-kino-kak-i-o-chem-snimaet-martin-skorseze
15.  Sherel, A. (2004). Audio culture of the XX century. History, aesthetic patterns, peculiarities of influence on the audience. Moscow: Progress-Tradition

Peer Review

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The list of publisher reviewers can be found here.

The subject of the research in the article submitted for publication in the journal Philosophy and Culture, as the author reflected in the title ("The acting decision of the film in the context of Martin Scorsese's directorial handwriting") and explained in detail in the text, is the acting decision of the film (in the object) in Martin Scorsese's directorial handwriting. The strong point of presenting the research program, according to the reviewer, is a detailed reasoned explanation of the research object to the reader based on the authoritative opinions of Russian and foreign colleagues. It is from the context of Martin Scorsese's directorial handwriting, in the author's opinion, that the important role and specifics of the director's cast selection emerge, which explains the author's focus on the subject of research. The empirical research material is also well presented: from the general filmography of the director (67 films), the author identifies 33 "independent" feature films, including short films, where neither co-authorship nor the specifics of the documentary film, minimizing the role of acting, affect the selection of actors. Of particular value is also the collection and generalization of statistics on the performance of actors in Martin Scorsese films without indication in the credits and during dubbing, as well as the analysis of information from popular periodicals. The quantitative data collected and analyzed by the author of the director's preferences in the choice of actors fully reveal the acting decision of Martin Scorsese's film and significantly complement the scientific understanding of his directorial handwriting. Thus, the subject of the study was disclosed by the author at a good theoretical level, the presented results are trustworthy, and the article is published in the journal Philosophy and Culture. The research methodology is based on a comparison of quantitative data on actors invited by Scorsese in his 33 "independent" feature films. Despite the fact that the research program is presented by the author in a non-standard way, through the structural integrity of the article, it is implemented quite transparently. The collected statistics are presented in a tabular form available for verification. The results of the simplest ranking of actors by the number of creative unions with the director are quite obvious. The author's final conclusions are well-reasoned and beyond doubt. The author does not additionally explain the relevance of the chosen topic to the reader, but a detailed presentation of the object of research indicates the important role of the director's selection of the cast in a creative handwriting (style), which explains the author's focus on the subject of research. The scientific novelty of the work, expressed primarily in the explication of carefully selected and analyzed empirical material into theoretical discourse, is beyond doubt. Well-reasoned conclusions complement scientific ideas about creative style (director's handwriting) Martin Scorsese in terms of the specifics of the director's selection of the cast. The style of the text is generally scientific, the reviewer did not find any critical inconsistencies. Separate technical typos in the words ("... directors try not to focus on editing, I use [it is necessary: using] it simply as a way...", "At the same time, we note that Martin Scorsese prefers to use his family members in his films"), the editor of the magazine can independently correct without harm the author's thoughts. The structure of the article reflects well the logic of the narrative about the results of scientific research. The bibliography, taking into account the author's reliance on the analysis of empirical material, sufficiently reveals the problematic area of research. The appeal to the opponents is quite correct and sufficient, although the author does not focus on participating in acute theoretical discussions. The reviewer believes that the presented article will attract the interest of the readership of the journal "Philosophy and Culture" and can be recommended for publication.