Wednesday, October 21, 2020
CAPE FEAR released only fourteen months later Scorsese shifted the aspect ratio for the majority of his films to 2.35 Scope and the feel of them largely got slicker, bigger, often reveling in the movie-movieness of it all. GOODFELLAS holds onto the roughness so it feels perfectly at home on those streets, with all these people that it loves and hates at the same time. Even with the backing of a major studio the film often feels like it was made on the run, desperately keeping any anachronisms out of frame but in the end who cares if a license plate falls off, not when everything else matters so much more. The deeper meaning comes not from anything these people say or do but from the music that, just as it does for any of us, means whatever you want it to mean when the mix tape of a life is put together. Jerry Vale performs at the Copa, Bobby Darin is heard as dinner gets prepared in jail, Nilsson to get Henry going at 6:55 AM, Donovan singing in “Atlantis” about being way down below the ocean. That’s where these guys are anyway, in their world below all those overpasses ready to bash in the head of anyone who tells them to go get their shinebox all the way to the haunting, wordless sounds of the “Layla” piano break as we view Jimmy’s carnage, that point when the good times are over and there’s nothing left to do but look at all those dead bodies, people too stupid to have known it was going to end like this but you feel a tinge of sympathy anyway. All they wanted was the world, after all, they just couldn’t keep quiet about it.