Introduction
Conveying the primary ideas of a given film is an essential task for the director. Various creators have proven themselves to possess striking artistic vision, which significantly differs from ordinary directing. Such authors as Steven Spielberg and Ingmar Bergman have drastically changed the industry of filmmaking, implementing their unique styles and approaches (Goodykontz et al., 2011). A prominent theoretical construct often applied to these directors is auteurism, a strategy that highlights the creator’s role in the process of moviemaking. In this work, Martin Scorsese will be discussed as an influential auteur director, whose films “The Departed” (Scorsese, 2006) and “The Irishman” (Scorsese, 2019) are instances of outstanding authorship, that further develop film storytelling.
The Theory of Auteurism: Recognizing Artistic Vision
The concept of an auteur director was developed as a means of analyzing the director’s vision when considering a specific work. The theory’s originator, Francois Truffaut, stated that any filmmaker presents his artistic views through certain themes and styles that they utilize when directing a movie (Goodykontz et al., 2011). Truffaut coined a construct that offered an understanding of the director’s main ideas while forcing a great responsibility for the work’s affluence on the creator. To improve the theory’s application possibilities, an American critic Andrew Sarris proposed additional criteria that distinguished auteur directors by examining their films’ technical competence, distinguishable personality, and interior meaning (Goodykontz et al., 2011). According to Sarris, a prominent auteur should produce works of exceptional quality and technical traits that must be recognizable to the viewer (Goodykontz et al., 2011). After that, the personality of the product should be easily identifiable, visually and thematically distinct from other directors’ creations. Lastly, the artwork’s meaning is an essential part of the auteur concept, described as thoughts and ideas that the filmmaker is trying to convey to the audience. Altogether, the three features discussed to allow the critics to explore different aspects of the movie, uncovering the opinions of the creator.
Martin Scorsese: An Auteur Director
Throughout the history of the film industry, various directors have achieved the status of auteurs. A tremendously successful movie maker, Martin Scorsese, is considered one of the inspirational directors who fulfil the auteur theory’s requirements (Hodsdon, 2017). In his works, Scorsese develops incredible technical competency, which highly increases the films’ quality. For example, in the motion picture “The Departed”, the author reveals his technical abilities by upholding the same filming style and quality standards, including fast action scenes that keep the viewer invested in the story (Juan, 2020). An instance of such exceptional technicality is the editing strategy used by Scorsese to intensify the events portrayed by swift cuts between different frames. In the elevator scene, where Billy Costigan takes Colin Sullivan, hostage, the camera quickly changes focus from one character to another, implying the situation’s seriousness and the gravity of emotions experienced by the individuals (Scoresese, 2006). However, the director also successfully employs long tracking shots in “The Irishman” to convey the ideas of the fleeting passage of time and the inevitability of death in the concluding scenes with Frank Sheeran (Scorsese, 2019). The author’s ability to efficiently utilize contrasting filming techniques to present specific emotions and sequences is a valid testament to his technical competence.
Another exceptional trait of Scorsese’s directing is the unmistakable personality evident in multiple of his works. The creator often turns to the subject of gang members, violence, and betrayal (Juan, 2020). “The Departed” is often considered a quintessence of Scorsese’s ideas regarding guilt, severe brutality, and intense situations (Scott, 2019). An outstanding instance from this movie is the bar scene between Billy Costigan and his boss Frank Castello, who forcefully searches Costigan’s arm cast regardless of the pain endured by the young man (Scorsese, 2006). In addition, throughout the movie, multiple characters are involved in shooting sequences, causing pain and death to various individuals. For “The Irishman”, this film is another example of Scorsese addressing the aforementioned topics, as the whole plot of the work revolves around a hitman who is involved in ruthless mafia activities (Scorsese, 2019). Altogether, the director’s motion pictures are connected through similar themes and characters, discussing illegal activities, crime families, and human brutality.
Most of Scorsese’s productions contain interior meaning through which the author shares his thoughts on the topics presented in the work. The director underlines the consequences of violent actions, showing the negative sides of gang endeavors, hypermasculinity, and the struggle between different ethnicities (Lopes, 2019). In “The Departed”, the auteur refers to the conflict between the Irish mafia and the police force, which results in multiple deaths. The creator’s vision becomes evident in the last sequences, where numerous betrayals lead Colin Sullivan to be ignored by the mother of his child and finally be shot by the man he lied to (Scorcese, 2006). Similar outcomes are evident in “The Irishman”, where a renowned hitman Frank Sheeran is neglected by his daughters due to the crimes he committed.
Scorsese Among Others
The techniques utilized by Scorsese are the marks that distinguish him as an auteur director. Throughout his long career, Scorsese worked with various productions, managing to address consistent topics and reviewing the negative results of intense violence on social relationships and life itself. The filmmaking techniques used by the creator can be drastically different, from long shots to quick cuts, but the overall stylistic choice remains the same, allowing the audience to grasp the author’s ideas and recognize the film watched as Scorsese’s work. This might be due to the authors lasting working relationship with the same editor, Thelma Schoonmaker, with whom he cooperates in all of his endeavors (Goodykontz et al., 2011). Collaborating with a particular person who shares his vision is another feature that identifies Scorsese as an auteur who follows consistent and original ideas. While some directors might adhere to popular demands, changing their fields of interest and trying to appeal to the audience, Scorsese presents his thoughts and aspires to share his vision of criminal themes with the viewer (Hodsdon, 2017). The creator’s artistry and inspiring storytelling, as well as impeccable technical competence, separate him from his peers, implying that he is a distinguished auteur whose films are important to him on a personal level.
Conclusion
To conclude, the authorship of Martin Scorsese and the primary features of his works were thoroughly examined in this paper. The director possesses a considerable level of technical competency, producing movies of incredible quality. The author’s artistic vision becomes clear at a close examination of his chosen topics, with his films containing a highly recognizable style and distinguishable personality. The interior meaning behind the works appeals to the subjects of guilt and betrayal, outlining the consequences of criminal activities. Among his colleagues, Scorsese is an outstanding creator connected to his productions on a personal level, making him an auteur director of his time.
References
Goodykontz, B., Jacobs, C. P., Meetze, J., Pritts, N. (2011). Film: From watching to seeing (3rd ed.). Bridgepoint Education. [Electronic version]. Web.
Hodsdon, B. (2017). The elusive Auteur: The question of film authorship throughout the age of cinema. McFarland.
Juan, E. S. (2020). The films of Martin Scorsese: Gangsters, greed, and guilt. Rowman & Littlefield.
Lopes, P. (2019). Art rebels: Race, class, and gender in the art of Miles Davis and Martin Scorsese. Princeton University Press.
Scorsese, M. (2006). The Departed. [Film]. Plan B Entertainment.
Scorsese, M. (2019). The Irishman. [Film]. TriBeCa Productions.
Scott, J. F. (2019). Martin Scorsese, Woody Allen, Spike Lee: Ethnicity, race, and identity in American independent film. Rowman & Littlefield.