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You dont make up for your sins in church - you do it on the streets you do it at home The rest is bullcensored and you know it Charlie Of all the film-makers dicussed here none exploded with quite such volatile energy on the American screen as Martin Scorsese with Mean Streets in 1973 Of all our blood poets none have displayed quite such a thirst and an appetite for ectoplasm either nor such a painterly eye for the aesthetic virtues of blood His films are positively soaked in it yet Scorsese differs from other directors whose shared mentors were that sacred trinity of savagery - Leone Penn Peckinpah in two all-important ways He is Sicilian American and like Don Vito Corleone the emphasis is on the Sicilian and he is a Catholic Scorseses films at least through until Raging Bull have a sensual expressionistic depth and texture that one associates more with European auteurs such as Truffaut Buuel and Bertolucci than with the American trash-gurus such as Fuller or even Hawkes and Ford He also has a rare and suprisingly enriching to his art at least sense of sin Scorsese is of all t he American directors that emerged in the 70s the one with the clearest vision of modern civilization as Hell Martin Scorseses first film - a short called Whats a Nice Girl Like you Doing in Place Like This - was made in that halcyon year 1963 four years later in 1967 Scorsese made a third short film The Big Shave - a one scene vignette-parable in which the sole character - the first real Scorsese protagonist and something of a prototype for all the rest to come - stands in front of a mirror to shave As he progresses he begins to cut himself but rather than stopping to lance the wounds he continues slicing and gashing away at his face with a ferocious fatalistic and suicidal
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