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February 13, 2010


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Chris O.

Anyone know what the art was in Kingsley's character's office other than the William Blake print?

Fuzzy Bastard

I have to admit, though I'm a big booster of Scorsese's recent films, I've thought DiCaprio was terrible in all of them; despite the similar alternation of vowels, he makes a very poor substitute for Deniro. THE AVIATOR was the only one where he was properly cast, as a pampered nut, and that's fine---"range" is an overrated attribute. But in GANGS, he was supposed to be an orphan kid who grew up on the streets, but he never looked like someone who'd ever missed a meal (same problem in DEPARTED). His attempts to seem street-smart just come off to me like the worst sort of Hollywood playacting, this soft boy pretending to be a hard man. I mean, I understand that's what all acting is, like with that privileged Upper East Sider Humphrey Bogart but with DiCaprio, I never buy the act for a second.


I'm late to the party but I have to say this movie really worked on me and is continuing to do so. I find myself thinking about it at odd moments and its images are actually turning up in my dreams. The images and music and emotion really overwhelmed me like few films have recently. I think operatic is a word that fits it perfectly. Robbie Robertson should win some special Oscar for putting the soundtrack together. He, Scorsese, and Thelma have made Mahler, John Adams, Cage and others sound like a classic film score. This one seems to be polarizing people but I know I will be revisiting Shutter Island for years to come.

Sheila King

Fascinating discussion, even the nitwits who continue to nitpick at DiCaprio as if he's the same kid he was about 15 years or so ago. Another critic who can't get past Catch Me If You Can is David Thompson, who generally goes out of his way to say nasty things about the actor when presented with the opportunity. You'd never know DiCap was 35 heading towards 40. We should all be so lucky. I personally didn't care much for Catch Me. The book was much livelier and the real Frank far more interesting than the character in the film. I do believe that he just gets better in each Scorsese film, though, particularly the last two. Scorsese himself has said as much, that in editing the two films both he and Thelma Schoonmaker could see something happening in the performances that was most interesting, like he was going to a different level. Anyhow, Shutter Island is probably the most difficult thing the actor has ever pulled off and it would be heavy lifting for any actor. A very, very difficult performance in which he has to stay clenched, and bleeding, as someone put it, for most of the film. The only other role that I can think of that had a similar level of difficulty was Al Pacino in Godfather II, an almost immobile performance (I don't mean that in a bad way) that required deep internal pain. Shutter Island remains with me even though I wasn't sure how I felt about it when I saw it. I do know that I have to see it again, though. And I swear that one scene, the first dream sequence with Teddy and Dolores, was as emotional as any I've seen done in any film in quite awhile. Can't get it out of my mind.

Jeff McMahon

Well, I finally saw this film and enjoyed it very much, then was very surprised to see so much contrarian Scorsese-knocking here. Some from people I expect, others that just don't make sense at all.

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