Bibliography

Weiss, Marion. Martin Scorsese: A Guide to References and Resources. Boston: G. K. Hall, 1987, 137 p.

Listing of secondary sources written between 1968 and 1985. This book also includes an annotated filmography and two essays on Scorsese's life and works.

Criticism

Arkush, Allan. "I Remember Film School." Film Comment 19, No. 6 (November-December 1983): 57-9.

Reminiscence on studying film at New York University in the late 1960s. Arkush, the director of such films as Deathsport (1978) and Rock 'n' Roll High School (1979), says of Scorsese, "I have never seen his equal" as a film teacher.

Bell, Arthur. "Ready When You Are, Paisan." The Village Voice 20, No. 33 (18 August 1975): 104, 69-70.

Reports on the filming of Taxi Driver and discusses the film's main themes.

Bliss, Michael. Martin Scorsese and Michael Cimino. Metuchen, NJ: Scarecrow Press, 1985, 301 p.

Comparative study of the two fimmakers' careers and films.

Boyd, David. "Prisoner of the Night." Film Heritage 12, No. 2 (Winter 1976–1977): 24-30.

Argues that there are significant thematic similarities between Taxi Driver and John Ford's western The Searchers (1956).

Connelly, Marie Katheryn. Martin Scorsese: An Analysis of His Feature Films, with a Filmography of His Entire Directorial Career. Jefferson, North Carolina: McFarland & Company, 1993, 180 p.

Contains plot summaries and descriptive analyses of Scorsese's major theatrically released films from Mean Streets through Goodfellas, excluding Boxcar Bertha and his documentaries. This work also includes a detailed filmography and a brief list of secondary sources.

Dickstein, Morris. "Self-Tormentors." Partisan Review LXI, No. 4 (Fall 1994) 658-64.

Recounts and analyzes the plot, themes, and style of Raging Bull, arguing that the film "evokes Dostoevsky's treatment of the lives of spiritual misfits and 'self-tormentors.'"

Haskell, Molly. "Will Odysseus Stay Home and Do Needlepoint While Penelope Wanders Off in Search of Herself and Maybe Gets a Job Singing?" The Village Voice 20, No. 7 (17 February 1975): 67-8.

Examines Alice Doesn't Live Here Anymore and other contemporary versions of the "road movie" genre of the 1950s and 1960s. Haskell concludes that Scorsese and screenwriter Robert Getchell imbue their lower-middle-class main characters with improbably sophisticated tastes and opinions, thus rendering them pleasingly yet unrealistically and untruthfully "above" their environment.

Hoberman, J. "King of Outsiders." The Village Voice XXVIII, No. 7 (15 February 1983): 1, 38-41, 92.

Discusses the making and main themes of The King of Comedy, with digressive remarks on Scorsese's life and other works.

Horne, Philip. "Henry Hill and Laura Palmer." The London Review of Books 12, No. 24 (20 December 1990): 20-1.

Examines the ironic depiction of violence in Goodfellas, comparing Scorsese's strategies with those of David Lynch in his films Blue Velvet and Twin Peaks.

Hosney, Jim, Wollman, Jacquelyn, and Engdahl, Jesse Ward. "The Passion of St. Charles: Martin Scorsese's Mean Streets." The South Atlantic Quarterly 91, No. 2 (Spring 1992): 409-18.

Examines the religious aspects of the film and its indebtedness to the spirit of literary Romanticism, particularly that of William Blake.

Kolker, Robert Phillip. "Expressions of the Streets: Martin Scorsese." In his A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, pp. 206-69. New York: Oxford University Press, 1980.

Analyzes Scorsese's main themes and approach to miseen-scène. Kolker's central concern is with "point of view, with how and why a filmmaker allows us entry into the fiction he creates, and, once entered, with where we are permitted to stand and how we are permitted to observe." See the excerpt reprinted in CLC-20.

Lourdeaux, Lee. Italian and Irish Filmmakers in America. Philadelphia: Temple University Press, 1990, 288 p.

Examines Scorsese's films in light of his ethnic background. Also discussed are the films of Frank Capra, Francis Ford Coppola, and John Ford.

Miller, William Ian. "'I Can Take a Hint': Social Ineptitude, Embarrassment, and The King of Comedy." Michigan Quarterly Review XXXIII, No. 2 (Spring 1994): 323-44.

Analyzes the ways in which Rupert Pupkin, the main character in The King of Comedy, produces and exploits embarrassment in others by misreading hints and social cues.

Murphy, Kathleen, "Made Men." Film Comment 26, No. 5 (September-October 1990): 25-7.

Impressionistic description and positive review of Goodfellas.

Schrader, Paul. "Paul Schrader on Martin Scorsese." The New Yorker LXX, No. 5 (21 March 1994): 124.

Brief, laudatory reminiscence on his collaboration with Scorsese, particularly on the screenplay for Taxi Driver.

Sidey, Ken. "Last Temptation Boycott Gets Mixed Reviews." Christianity Today 33, No. 7 (21 April 1989): 36-7.

Assesses the efficacy of the protests against The Last Temptation of Christ from the point of view of the protesters.

Taylor, Bella. "Martin Scorsese." In Close-up: The Contemporary Director, edited by Jon Tuska, pp. 293-368. Metuchen, N. J.: The Scarecrow Press, 1981.

Survey of Scorsese's life and career, with extended discussions of his major films through The Last Waltz.

Review of Who's That Knocking at My Door?, written and directed by Martin Scorsese. Time 94, No. 12 (19 September 1969): 95, 97.

Praises Scorsese for enlivening the film's melodramatic plot through uniquely cinematic means, but faults his inattention to narrative continuity.

Wall, James M. "In the Streets with Martin Scorsese." The Christian Century 108, No. 34 (20-27 November 1991): 1083-84.

Editorial commentary in which Wall asserts that a strong Catholic sensibility is evident in Scorsese's films. Prompted by reading Mary Pat Kelly's book Martin Scorsese: A Journey, Wall seeks to "revisit Scorsese's work and perhaps atone a bit for the shabby manner in which Last Temptation was treated by many Christians."

Interviews

DeCurtis, Anthony. "What the Streets Mean: An Interview with Martin Scorsese." The South Atlantic Quarterly 91, No. 2 (Spring 1992): 427-58.

Wide-ranging discussion of various issues, including Scorsese's ethnic background, his approach to filmmaking, favorite directors, censorship, etc. This is an expanded version of an interview first published in the November 1, 1990 issue of Rolling Stone.

Ebert, Roger, and Siskel, Gene. "Gene Siskel and Roger Ebert Interview Martin Scorsese." In their The Future of the Movies, pp. 1-35. Kansas City, Missouri: Andrews and McMeel, 1991.

Eclectic discussion of issues in contemporary American commercial filmmaking, including subject matter and financing, screen sizes, video and laser technology, colorization, film restoration, etc.

Kauffman, Helen. "Mr. and Mrs. Scorsese: Our Son the Director." The Los Angeles Times (30 September 1979): 107.

Scorsese's parents on their son's work and their roles in his films.

Kelly, Mary Pat. "Jesus Gets the Beat: An Interview with Martin Scorsese," Commonweal CXV, No. 15 (9 September 1988): 467-70.

Scorsese discusses his views on Catholicism and on "the human side" of Jesus.

Macklin, F. Anthony. "'It's a Personal Thing for Me.'" Film Heritage 10, No. 3 (Spring 1975): 13-28, 36.

Discussion of the making and meaning of Alice Doesn't Live Here Anymore, with briefer comments on Scorsese's previous films.

Smith, Gavin. An interview in Film Comment 26, No. 5 (September-October 1990): 27-30, 69.

Discusses Goodfellas and Scorsese's approach to filmmaking.

Thompson, Richard. "Screenwriter: Taxi Driver's Paul Schrader." Film Comment 12, No. 2 (March-April 1976): 6-19.

Includes a lengthy discussion of Schrader's work on Taxi Driver.