The jumpy 8 mm film points to how charlie sees not

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The jumpy, 8 mm film points to how Charlie sees not only the streets that surround him, but himself. The glowing red bar is the focal point of the groups' activities. If the bar is intended to be Hell, it serves as a place for Charlie to work out his conflicts or perhaps even die, but certainly not a place he is tortured or suffers in. Charlie's guilt and burden is strictly from the child he protects, Johnny Boy. This world is violent to the extreme, but it's violence that emerges from these characters' attempts to make peace from their world. At the same time there is a heightened sense of reality in the bar sequences. These characters use excessive to language as a form of expression, a sort of reflection of the fast paced living in New York City. The tension of a dangerous vitality, friendships that become provocations, a restlessness that can't be satisfied, makes up the structure of the film. Class, ethnicity, and gender are all central to the film. These characters are not concerned with moving up the gangster ladder, but more with good
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times and small personal gains to sustain their lifestyles Goodfellas is not a monster film, but its characters are amusing monsters full of self importance and diminished stature, who prey mostly on themselves. 11/29/10 Neither confidence nor reality explain why the only people Travis sees are the mad or disenfranchised; the streets are the stews of the city and the people aren't much better Travis is prey to his own isolating gaze, as is the viewer; the camera takes a very active role in following his focal points The final irony of Travis' life comes in the ending slaughter, an act he sees as liberating and purifying that others view as heroic
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  • Fall '10
  • WALTERKORTE
  • The Streets, Martin Scorsese, Film editing, Establishing Shot, · Scorsese

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