Leonardo DiCaprio

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.

Gatsby

It’s been a long time since my high school English class, but I remember that The Great Gatsby was one of my favorites.  It’s been dramatized a few times, including a 1974 version starring Robert Redford and Mia Farrow.  That version was a rather dull, literal interpretation of the book that offered little in the way of artistry.  Now, director Baz Luhrmann (Moulin Rouge, Romeo + Juliet) reunites with Leonardo DiCaprio (Django Unchained) in a beautiful adaptation of the Fitzgerald classic.

The movie begins true to form with the introduction of Nick Carraway, played here by Tobey Maguire (Brothers).  Nick is an observer, a spectator in a world to which he doesn’t actually belong, and our gateway to Gatsby.  He lives on Long Island, renting a modest cottage across the sound from his cousin Daisy (Carey Mulligan, Shame) and her husband Tom Buchanan (Joel Edgerton, Zero Dark Thirty).  Their estate dwarfs Nick’s, as the “old money” Buchanans are well established.

The Island is divided into two sections, with Daisy and Tom on East Egg, and Nick on West Egg.  As Nick acclimates himself to his new environment, he begins to hear whispers around town about Jay Gatsby, a mysterious resident of West Egg known for his lavish, opulent parties.  He lives next door to Nick, but the two have never met.  In fact, Gatsby is such a shadowy figure that for the first 20 or so minutes, we don’t even see him, we only hear about him in excited, hushed whispers.  This is particularly true at one of Gatsby’s own parties, to which Nick is invited – but wading through the rumors only adds to Gatsby’s mystique.  Is he a bootlegger? How did he make his fortune? As the speculation reaches a fever pitch, finally Nick meets his enigmatic host.

Gatsby’s noveau riche trappings initially do very little to entice the object of his affection, Daisy Buchanan.  They had a brief dalliance before she married, but circumstances precluded their union.  After returning from war, Gatsby did not have the means to provide for a woman such as Daisy, and this fact both drove and haunted him.  Fast-forward five years to 1922, and Gatsby’s love for Daisy has intensified in its yearning.  She is his motivation for everything: the parties and the decadent monument to capitalism that his mansion represents.  The pair is ill fated, and the revelation of this immutable fact is  beautifully tragic.  I don’t want to say much more about the plot, because I hope you’re already familiar.

Baz Luhrmann is a true artist, and the cinematography was breathtaking.  Certain scenes looked as if they could be paused, printed, framed, and hung on a wall.  When Nick gets drunk for only the second time in his life, it is during a raucous party in the city with Tom Buchanan, Tom’s mistress, and her friends.  Nick is torn between his loyalty to his cousin and friendship with Tom, but eventually casts his inhibitions aside.  Luhrmann creates an unforgettable scene, a beautiful bombardment of color and sound unlike anything you’ve seen.  It was like a Romare Bearden painting come to life.

Much ado has been made about the film’s anachronistic score, provided by Jay-Z.  Luhrmann has employed anachronism in previous work, and I found it mostly effective here.  “Who Gon Stop Me,” “No Church In the Wild,” and “100$ Bill” were completely on point in terms of their placement.  I can’t say enough about this film, and I honestly don’t see what’s to dislike.  Gatsby was a magical movie that juxtaposed the great opulence of a gilded age with the hollowness of hedonism and unrequited love.  The performances were brilliant and haunting, particularly those of DiCaprio and Maguire.  DiCaprio infused Gatsby with the requisite charisma and panache, affecting the aristocratic transatlantic accent of the day with perfection.  This was one of the best movies of 2013, so far.  Grade: A.