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December 26, 2013


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JM: If Glenn were (over)doing that kind of stuff in his official film reviews for other sites you might have a point, but surely he should be allowed more leeway in a blog situation.

Chris L.

Also, rewatching The Age of Innocence earlier this week on TCM has reaffirmed its status as one of my favorite Great Films of its era. They're showing it again next week, if I'm not mistaken. (For those who hold that MS hasn't made anything great in 30 years, etc.)

John M

I am not JM. In case anyone's writing a historical record of all this.


"surely he should be allowed more leeway in a blog situation."

he can do whatever he wants, of course. but Glenn himself has acknowledged the problem, and made repeated promises (to himself and readers) to change. but he doesn't seem to have the ability or interest to follow through.


At this point, there seem to be even more cooler-than-thou, "have you ever even HEARD of dramatic irony" reviews of WOWS like this one as there are negative reactions out there. It's depressing. By now, the former approach is formulaic--cherry pick the small number of ass-covering unreliable narrator moments (ie: the guy's suicide, the mis-remembered qualude scene) while ignoring the 3+ hours of unrestrained glee Scorcese and his cast obviously took in recreating the warped autobiography of the subject.

Glenn Kenny

That's "Scorsese."

Darren Mitton

Where have you been? Martin Scorsese's films have ALWAYS been homophobic! The man practically prides himself on it!

Brian Dauth

I think Scorsese movies come at homophobia from the angle of ardent/committed male heterosexualism (which does not alter the homophobia, but it seems to me that is less motivated by "I hate fags," and more the consequence of an "I really/truly/deeply love and bond with other men, but no homo" mentality).

Scorsese films are heavily invested in hetero-maleness and its discontents (both real and imagined). As a queer spectator, I am already alienated from the content of many of his films, so when he attempts to create alienation effects in TWOWS through excess, the effort fails for me since I am already at a distance from what is being depicted. I do not experience the excess as alienating, but more as chocolate sauce on top of caviar. On some level, a spectator needs to be able first to be susceptible to the allure or have direct experience of Scorsese's men/world before the excess can work as alienation.

I have enjoyed THE AVIATOR and SHUTTER ISLAND where the film is less excessive and has some distancing that creates space for queer viewership. As a result, TWOWS was a disappointment for me since it seemed a step backwards -- the re-emergence of a heteromale solipsism I thought his films had left behind.

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