Especially known for his fantastic films and folded to the genre, writer, director and aficionado of certified geek culture, Guillermo del Toro, Adores Martin Scorsese. Although there is no shortage of brilliant films in his filmography, the masterpiece of hells of the 1990s Goodfellas is as close to the impeccable that an image can get for Del Toro. Unsurprisingly, he knows the cinema, and the adapted film of Nicholas Pileggi Wise The book is one of those emblematic works that are really up to the media threw.

As a director, Martin Scorsese has the activity of making expert films while challenging themselves with each new project. Due to another emblematic work, Average streetsScorsese almost did not want to do GoodfellasDespite his enthusiasm for Pileggi’s book. Given the type of work made by Guillermo del Toro, in particular stories about improbable heroes, it may seem a strange choice for a “perfect” film. There is no objective standard for quality with regard to cinema (or all art). Still, Goodfellas is as close to “objectively good” as a film can be. The film is a flawless and inexpensive representation of men who devote their lives to greed, violence and, essentially, to evil. Only Scorsese skillfully and subtly disturbs the story in this direction after having first highlighted the appeal and the appeal that life had for someone as the character of Henry Hill by Ray Liotta, without glamor the wicked who are the “heroes” of this story.

What Guillermo del Toro had to say about Goodfellas is almost surprising

The acclaimed filmmaker loves Martin Scorsese’s work and just loves movies

From his horror work to Hell has The shape of the waterGuillermo del Toro finds humanity expertly at the heart of “monsters” in his work. So much so that Del Toro said his Frankenstein The film is not horror and will overthrow fans’ expectations as to its adaptation of the emblematic work of Mary Shelley. From this point of view, it is logical that Del Toro finds himself attracted by GoodfellasPerhaps even beyond his global affection for the work of Martin Scorsese. The film has the impression of having always existed, but when Goodfellas Begun, part of his impact came from the way he did the same thing. Put aside the elements of science fiction and fantasy of the work of Del Toro, he shares creative DNA with Goodfellas. (And probably not by accident.)

With Liotta, the film has Robert de Niro at its peak, Joe Pesci in its most (intentionally) atrocious, Lorraine Bracco with an incredible range and countless other major actors (most of which appeared later on Sopranos). These beautiful captivating people play shallow and ugly people with impressive depth and authenticity. They make almost unfathomable decisions throughout history, but each is won and feels faithful to whom they are as people. As director, Del Toro also pays more attention to subtle and fascinating details in GoodfellasIn particular how the film visually relays information.

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Scorsese and the work of his collaborators presenting Goodfellas is also influential for history and how it makes viewers feel like dialogue and performance. The “hand of the director” is always present, but it is also very subtle. For example, the long sequence to take a single catch when Hill and Karen go to their first appointment is impressive just from a technical point of view. The public may not even notice it, but this visual choice is crucial to sell why the Life gangster calls not only in Hill, but also in Karen. The way the camera moves (or, in some cases, does not do so) to the voices off Goodfellas feel like Cinema Territo Rather than a simple “image of the crowd”.

Why GoodFellas is a emblematic cinematographic masterpiece does not have much to do with the truth

A “real” story about Henry Hill’s life, Martin Scorsese transcended the story

One element on Goodfellas This distinguishes him from other gangster films is his subject, in particular the real gangster Henry Hill. In the years preceding his death, Hill frequently talked about the film and his life in organized crime. Skeptical observers noted man’s understanding of the details and consistency of his stories. Even if the film can sometimes feel almost as a cross between a documentary and a reality style show, the historical precision of the film is not even worth thinking. Even based on a true story, Goodfellas is a perfect example of “the lie that tells the truth”.

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For example, there is the classic scene between Tommy de Pesci and Billy Batts by Frank Vincent, who leads to the death of the latter. In reality, the murder occurred a few weeks after the confrontation, but in Goodfellas, It’s the same night. Not only is it a better cinematographic rhythm, but it is also one of the clearest examples of children’s savagery governing the lives of these men. They believe that it is these honorable and serious men of great importance, but Batts and Tommy prove to be small, petty and unnecessarily cruel. Scorsese has made a classic modern gangster film, but it only relies on genre tropes to emphasize how stupid wise men can be.

Scorsese brilliantly describes how these men see each other and see each other, while showing simultaneously that these are illusions of magnitude. The memories of humor of Hill, camaraderie and, above all, of honor are, in fact, the opposite of these things. Beyond the simple characters, their victories and their achievements are indeed useless. Of course, the characters get more beautiful clothes or houses, but their life never improves, but worse. Rather than a lifestyle outside the law with great cinematographic action, Goodfellas emphasizes that their days are filled with boredom and intermittent violent explosions.

Goodfellas is the “anti-clodfather” while approaching all the same themes

The ironic title and intelligent cinema hide how much it makes the crowd

Recently celebrating its 50th anniversary, The godfather Gangster films changed forever, but all paradigm changes were not positive. Francis Ford Coppola used the archetype of Mafioso for an allegory on “the American dream” and how people aspire to what they do not have or cannot have. Coppola presents the Corleone family as people of honor, loyalty and commitment. We can say that it glamorous gangster’s life to a certain extent that the film could belong to the same basket as the fantastic films of Guillermo del Toro rather than in an authentic representation of real life. Goodfellas Available in the same thematic spaces, but each turn, Scorsese eliminates this facade. The ties of honor or family do not make sense for guys like Tommy or Jimmy that human life itself. The real magic thing that scorsesse withdraws with Goodfellas is how it makes this raw and captivating story with really despicable characters.

When Tommy is finally murdered (under the pretension of obtaining his “button”), Scorsese and the editor Thelma Schoonmaker intercut Herny and Jimmy wait when he takes his last trip. The latter is specifically enthusiastic about the realization of Tommy, as explained by Henry’s voiceover, it would be the closest to “make” the guys that the two would ever have. Because it is really horrible, the public can feel a sadistic glow of satisfaction when Tommy meets his fate. But due to the way in which the sequence is modified, Jimmy’s emotional reaction replaces this satisfaction with an empathy.

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The affirmation of Guillermo del Toro according to which Goodfellas Are perfect rings true because of its authenticity to human nature, not historical facts. Del Toro may have learned to show the humanity of the monsters of this film. Because if each character is deplorable against any standard of decency, they are tragically human. Goodfellas Brilliantly shows why some would choose this particular path to the American dream, including its glamor and its code of honor. However, Scorsese never hesitates to show that glamor is an illusion and the lack of honor among thieves and murderers. Unlike the sympathetic and poorly understood monsters of Del Toro, in Goodfellas, The only people who have the bad idea of ​​the life of the crowd are the characters themselves.

Goodfellas

Release date

September 19, 1990

Execution time

145 minutes

Producers

Good barbara

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  Robert de Niro

  James Conway