Goodfellas

Black Mass

For some reason, organized crime lends itself well to cinematic storytelling. Classics like The Godfather and Goodfellas come to mind, their appeal lying in the allure of pulling back the veil to expose a world that we’d never otherwise see. Black Mass fits squarely within the genre, recounting the exploits of notorious Boston gangster James “Whitey” Bulger. While not without its shortcomings, I found Black Mass compelling, due in large part to a superb performance from Johnny Depp (Mortdecai, Transcendence), one of the most versatile actors of our time.

The film begins in the early 1970s, introducing us to Bulger, a low-level hood navigating the streets of South Boston. Bulger is in clear command of his small group of associates, engendering respect within the community. Loyalty is an essential attribute for any foot soldier, and Bulger inspires such devotion in the brutal, insular enclave known as “Southie.” Bulger operated brazenly, largely because he struck a deal with the FBI to inform on his rivals, shrewdly keeping the Feds at bay while eliminating his competition. From Bulger’s perspective this was not “snitching,” because he wasn’t ratting on any close friends, only his enemies – the Italian Mafia in Boston.

I noticed that the film never really delved into a depiction of Bulger’s criminal enterprise; it only mentioned that he was involved in drugs, vending machines, rackets, etc. Filmmaker Scott Cooper (Out of the Furnace) never shows us Bulger’s operation, and we are told about rather than shown his ascent up the criminal ladder. Joel Edgerton (The Gift) co-stars as FBI agent John Connolly, a childhood friend to Bulger whose loyalty gave Bulger carte blanche in Southie. Connolly essentially acts as Bulger’s eyes and ears in the Bureau, giving him unparalleled sway in South Boston.

I’ve seen some criticism of Depp’s performance, and find it baffling that anyone would find fault with that particular aspect of the film. He was menacing, exuding a chilling presence that emanated from every scene and steely stare. This is the Johnny Depp that I like, not the quirky weirdo from Pirates of the Caribbean or Charlie And the Chocolate Factory. I thought he gave Bulger complexity, and I didn’t think his performance was one-note. I contrasted his depravity with the humanity Bulger showed in relation to his son and mother, which were moments of compassion and sensitivity. However, make no mistake: Bulger was a monster. He would devour anyone, and when he told one character that he’d eat him – I believed it. A few memorable scenes solidified this sentiment, particularly one involving Bulger and Connolly’s wife Marianne. Depp nailed it, and this scene captured both Bulger’s psychosis and Connolly’s weak complicity to perfection.

While watching Black Mass, I couldn’t help but be reminded of 2006’s The Departed, which was loosely based on Bulger. If you’ve seen that film, it may be helpful to think of Depp/Bulger as Jack Nicholson and Edgerton/Connolly as Matt Damon’s character, at least initially. Of course The Departed is a superior film, but I digress. Black Mass’ cast was stellar, and having the likes of Benedict Cumberbatch (The Imitation Game) and Kevin Bacon (Cop Car) in ancillary roles only bolstered the overall weight of the film. I’m a fan of the genre, so I noticed an homage (or rip-off) of the classic scene from Goodfellas when Joe Pesci yanks Ray Liotta’s chain when a joke goes awry. I don’t know if this was intentional or accidental, but it reminded me that although Black Mass is a solid addition to the genre, it isn’t replacing any of our favorites. Depp can flourish in these types of roles (evidenced here as well as in earlier works like Blow and Donnie Brasco) and should take on the task more often. While some aspects of the film could’ve been improved upon from a storytelling perspective, the principals (Depp and Edgerton) really delivered. Grade: A-

The Wolf of Wall Street

“Life should not be a journey to the grave with the intention of arriving safely in a pretty and well preserved body, but rather to skid in broadside in a cloud of smoke, thoroughly used up, totally worn out, and loudly proclaiming “Wow! What a Ride!”  There are few among us whose lives embody the words of famed journalist Hunter S. Thompson, but some people come close.  Jordan Belfort was such an individual, setting Wall Street ablaze in the early 90s like a real life Gordon Gekko on crack.  No, really.  On crack.

Belfort (Leonardo DiCaprio, The Great Gatsby) began humbly, learning the ropes as a rookie stockbroker at a modest Wall Street firm under the tutelage of senior broker Mark Hanna (Matthew McCounaghey, Dallas Buyers Club).  Hanna’s words of advice would form the blueprint for Belfort’s lifestyle, with Hanna advising him on everything from drug usage to a schedule for self-pleasuring.  Belfort did well for himself, a natural salesman gifted with a silver tongue.  That gift of gab would serve him well after his first brokerage house folded and he found himself selling penny stocks in a Podunk “firm” off the beaten Wall Street path.  It’s a huge step down at first glance, but Belfort quickly realizes an untapped gold mine.

Soon, Belfort was suckering pitiful souls out of their investment in a pump and dump scheme that left him with eyes on even bigger sights.  He recruited a handful of buddies back home, various hustlers in their own right.  With a trusted core in place, he opened his own firm called Stratton Oakmont, applying all that he’d learned to much bigger fish.  Dealing exclusively with wealthy investors, their profits increased even more and they were making money hand over fist.  Raucous office parties including hookers and cocaine were not uncommon, and capitalist hedonism ruled the day.

The film chronicles Belfort’s meteoric rise and subsequent fall from the precipice of a lifestyle filled with sex, drugs and a never-ending supply of money and women.  Scorsese effectively pulled back the curtain, exposing a lifestyle that few of us will ever witness.  Belfort’s indifference about the lives he ruined took a backseat to his zealous pursuit of the almighty dollar.  It was a familiar motif, with greed serving as faceless antagonist.  Eventually Belfort will burn out, and if the law doesn’t get him, the drugs will.

DiCaprio’s character was abhorrent, but there was a devil-may-care affability that I found likable – at least initially.  If you like to root for the bad guys in movies, it’s one of many reasons you’ll love this film.  DiCaprio has the astounding ability to immerse himself in a role so deeply that I don’t even see him anymore.  He was Jordan Belfort.  Although Belfort’s professional judgment was morally bereft, DiCaprio showed the duality of the character through the loyalty of his personal relationships – particularly his friendships.  Enter Jonah Hill (This Is The End) as Donnie Azoff, Belfort’s neighbor who observes his lifestyle and wants in.   Hill is really a gifted comedic actor, evincing versatility with a perfect balance of humor and levity.  From Superbad to Moneyball, his range is impressive and was on full display here.

Belfort’s story was the inspiration behind 2000’s Boiler Room, and comparisons to that movie and others of its ilk such as Wall Street are nearly inevitable.  Where Wolf surpasses its predecessors is in its deft storytelling, courtesy of Terrence Winter (Boardwalk Empire, The Sopranos) and Belfort’s source material.  Furthermore, Martin Scorsese hasn’t missed a beat as a filmmaker.  The same man that brought us seminal classics Goodfellas and Casino nearly 20 years ago is just as adept behind the camera now as he was back then.  In fact, The Wolf of Wall Street reminded me of Goodfellas in many ways, from the immediate narration of its protagonist to the hallmark Scorsese score.

The film was unquestionably a vehicle for DiCaprio’s talents, but the supporting performances were nearly as strong, with impressive turns from the aforementioned Hill and Margot Robbie (Pan Am), who smoldered as Belfort’s mistress turned second wife Naomi.  I initially resisted the prevailing notion that DiCaprio was one of the preeminent actors of our generation, but I’m beginning to agree.  His resume tells no lies, and this performance ranks right up there with the likes of his turn in The Departed, although he did not receive an Oscar nomination for that role.  He’ll certainly receive one here, and he couldn’t be more deserving.  He and Scorsese are every bit the tandem that Scorsese and DeNiro once were, and this pairing might be their best.  Grade: A.

This post first appeared at Poptimal and was reprinted with permission.