Music in Film...Martin Scorsese

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Welcome to the second installment in a series of hub articles dedicated to music in film. Each article focuses on one director, and the composers and songwriters he or she has collaborated with over the years.

The link to the introduction of this series and the first installment (Steven Spielberg) appears below:



“I’m a student of human moves.”

--- Paul Newman as “Fast Eddie Felson” in Martin Scorsese’s The Color of Money.

There is perhaps no other line spoken in a Scorsese film that best underscores this versatile director. From Mean Streets to The Wolf of Wall Street, he intentionally pushes the emotional envelope with the uncompromising realism, energy and stylized intensity that have become his signature. Scorsese explores universal themes of the human condition with laser-like focus. From man’s greed for materialism to his penchant for self-destruction and suffering, guilt and redemption, the consequences of his decisions are often portrayed on a visually overpowering landscape.


“I kind of see everything with music.” --- Martin Scorsese

Scorsese loves music, and has often acknowledged that he would probably be a musician had he not decided to become a filmmaker. His fondness for Italian opera, blues, and the rock & roll of his youth is frequently reflected in his soundtracks. His documentary films include: 2003 - The Blues ; 2005 - No Direction Home: Bob Dylan; 2008 – Shine a Light (the Rolling Stones); and 2011- George Harrison: Living in the Material World.

Scorsese’s feature films are often wrapped up in music that is intuitively placed throughout various scenes to emphasize the following: A contrast and/or juxtaposition to the drama; irony and dark humor; the voice of conscience, or the heartbeat of the story, itself. Not many directors have the visionary talent to utilize music and movement as a narrative this effectively. Whether through original orchestral scoring or existing compositions and songs, music serves as an indelible character in every Scorsese film.


This is one director many actors feel privileged to work with. “I didn’t have to read the script before I said yes to the role. After all, we’re talking about Martin Scorsese.” -- Matt Damon



The Oscar-winning "The Departed" – ("I’m Shipping Up to Boston” - The Dropkick Murphys)



  • “I take the dive. What more do they want? They want me to go down too? Well, I ain't goin' down; no, not for nobody.”

Often heralded as one the greatest films ever made, Raging Bull is a character study about American middleweight boxer, Jake LaMotta (played by Robert DeNiro). This searing film is an adaptation of LaMotta’s published memoir, and chronicles the boxer’s violent, self-destructive behavior throughout his life.

The soundtrack is a captivating blend of Italian American pop, opera, and jazz. In the opening credits, DeNiro is shadow boxing in slow-motion to Interlude from Cavalleria Rusticana, created by Italian composer, Pietro Mascagni. The poetic use of this classical music is stunning; it suggests a surreal quality that is almost ethereal while sounding to the audience a sense of foreboding that something heartrending is about to unfold:



  • “Pool excellence isn’t about excellent pool…it’s about becoming something.”

The Color of Money resumes the story of Fast Eddie Felson (brilliantly portrayed by Paul Newman) from the iconic, The Hustler, which was produced in 1961. The film is not about winning or losing at pool; it’s a story about character and the bitter truths we confront by losing it, and in regaining it. When the film opens, Eddie is a liquor salesman who stake-horses young pool hustlers. He pockets most of the profits from the sucker bets and wagers. Felson convinces the arrogant and talented shooter, Vincent (Tom Cruise), to join him on the road.

The soundtrack is a creative mix of rock, blues, and jazz. In the famous scene that follows, the smug Vincent “drops his pants” as he shows off too much of his pool expertise while doing a samurai dance with a pool cue to Warren Zevon’s “Werewolves of London”:



  • “When I was broke, I'd go out and rob some more. We ran everything. We paid off cops. We paid off lawyers. We paid off judges. Everybody had their hands out. Everything was for the taking.”

In Goodfellas, Scorsese presents the audience with a candid view of gangster life. The film pulls the viewer into the exclusivity of the mobster’s unequivocal, emotional world, and the self-justification for his brutality. Although initially criticized for the level of violence, Scorsese wanted to project life as he witnessed it, growing up on Elizabeth Street in New York City’s “Little Italy” during the 1950’s. Being truthful to the emotional core of any story is vital to this filmmaker.

When working on the script with co-author Nicholas Pileggi, Scorsese would make notes in the margins on the music he wanted to include in a particular scene with Ray Liotta, Robert DeNiro and Joe Pesci. Songs were either preplanned or added during the editing process. It wasn’t unusual for the music to be already playing on the set in order to maintain the film’s unique energy and rhythm:

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The “Gimme Shelter” Trilogy

Scorsese is considered by many to be the undisputed master of the gangster film soundtrack. Martin is a devout fan of the Rolling Stones and used much of their music in several of his films. Most notably, “Gimme Shelter,” was added to the soundtrack of two other films in addition to Goodfellas:

- Casino is Scorsese’s expose on the inner workings of the mob-owned Tangiers Casino in Las Vegas. The film depicts the rise and fall of the mob’s influence in Vegas, along with the film’s three main characters played by Robert DeNiro, Joe Pesci and Sharon Stone.

- The Departed, brings organized crime to the streets of South Boston where the state police wage a war against Irish mob boss, Frank (Francis) Costello. The film stars, Jack Nicholson (Costello); Leonardo DiCaprio; and Boston-area natives, Matt Damon (Cambridge) and Mark Wahlberg (Dorchester). (Wahlberg and Scorsese are both executive producers of the HBO series and period drama, Boardwalk Empire.)


  • “When you kill a king, you don't stab him in the dark. You kill him where the entire court can watch him die.”

Gangs of New York centers on the rise of gangland power in New York City during the mid-1800’s. Most of the film’s action takes place around the Five Points where five streets converged, and not far from Ground Zero. New York City was filled with rival gangs from a cultural melting pot that competed for dominance of Five Points and beyond. Scorsese saw this history as “the battleground of modern American democracy, “and the makings of an American epic. “The country was up for grabs,” he said, “and New York was a powder keg.” The film features Liam Neeson, Daniel Day-Lewis, Leonardo DiCaprio, Jim Broadbent and Cameron Diaz.

The music in this sprawling epic consists of dozens of different tracks of contemporary pop and music from mid-nineteenth century Ireland. The beautiful orchestral scoring was composed by Howard Shore who also wrote the soundtrack to The Lord of the Rings. (Film composers are faced with a myriad of difficult decisions; they must reach a collaborative agreement with the director, and create a score that complements and/or enhances the tone or scene in a film.)

The closing song is U2's "The Hands That built America":



  • “He simply felt that if he could carry away the vision of the spot of earth she walked on, and the way the sky and sea enclosed it, the rest of the world might seem less empty.”

The Age of Innocence was adapted from Edith Wharton’s 1920 Pulitzer Prize winning masterpiece. Scorsese loved Wharton’s writing, and was deeply moved by the conflicts of the characters that lived in the stifling cocoon of New York’s upper class society. Set in the late 19th century, the story focuses on Newland Archer (played by Daniel Day-Lewis), who is engaged to the lovely May Wellend (Winona Ryder). He soon falls in love with May’s cousin, the unconventional Countess Ellen Olenska (Michelle Pfeiffer). Ellen had separated from her husband and returned to New York after years of living abroad. The film follows Newland and Ellen’s struggles between passion and duty. Scorsese’s appreciation of the author’s writing is further reflected in Joanne Woodward’s elegant narration that echoes Wharton’s satirical and thoughtful observations of New York society from that era.

Elmer Bernstein’s stunning original scoring was nominated for an Oscar. Innocence is a dramatic work of art, completely devoid of adult language and violence. Yet the poignant, final scene that follows is quite powerful and one of the most difficult to watch in any of Scorsese’s films:



  • "Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."

The Aviator is another Scorsese American biopic. The film portrays the early years of the wealthy business magnate and aviator, Howard Hughes. Scorsese was impressed with Hughes as a visionary and Hollywood maverick, as well his struggle to overcome a serious obsessive-compulsive disorder in order to appear at the 1947 Senate Committee Hearings. He was also fascinated with the characterization of accumulation and greed: “How much is enough; enough is never enough. The curse that he had, like an ancient Greek curse on his family in a way, the curse of wealth, and the curses in his genes. All of this is his [Hughes] undoing. I found that fascinating. It’s a universal story. Like Icarus, he flew too close to the sun.”

The soundtrack is an eclectic combination of jazz, swing and pop tunes from that era. The wonderful orchestration for the main theme was composed by Howard Shore and is appropriately titled, “Icarus." The sounds we hear seem to reflect Hugh’s life; swirling, frenetic, soaring, reaching, never constant, and somewhat dark:



Note: My apologies for omitting such films as Hugo and The Wolf of Wall Street. Several hubs would be needed, at minimum, to encompass Scorsese’s entire body of work.

The next installment in this series focuses on director, Robert Redford.

Sources

  • Legendary director Martin Scorsese discusses The Age of Innocence; Brian Geldin, The Film Panel Notetaker/June 25, 2012 The Christian Science Monitor
  • ·Senses of Cinema; Martin Scorsese, May 2002; Marc Raymod
  • Thompson, David and Christie, Ian, eds., Scorsese on Scorsese. London: Faber and Faber, 1996.
  • Martin Scorsese’s Meanest Streets Yet: Rediscovering the 19th Century Gangs of New York; Manhattan Mayhem in Smithsonian Magazine, December 2002.




Written content has been copyrighted, 2014, by Genna Eastman (Genna East). All rights Reserved. Said copyrights do not extend to the videos that are utilized for learning purposes.



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32 comments

billybuc profile image

billybuc 2 years ago from Olympia, WA

I'm a huge fan of Scorsese, but I was left shaking my head after seeing "Wolf of Wall Street." Oh well, everyone is allowed at least one clunker in life, right? I like this series. Keep them coming.


mckbirdbks profile image

mckbirdbks 2 years ago from Emerald Wells, Just off the crossroads,Texas

Hello Genna. I am a movie fan and this series highlights things that I never gave much thought to. What an excellent idea for a series. I hope you do very well with the traffic it draws. I will be back soon to listen to your selections. I see Martin Scorsese and I both like the Rolling Stones. 'What are the chances?' lol


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Bill. Thank you! I didn’t watch Wolf of Wall Street, which is one of the reasons I didn’t include it in the lineup. I understand his film is an indictment of what happened with WS and all of the greed and avarice, but I wasn’t into watching it, up close and personal. Plus, I had heard about all of the sexual content, etc. Oh well, Scorsese is nothing if not controversial. My favs include The Departed (with our two boys from Boston), and Age of Innocence.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Mike. Thank you. You’re in good company with the Stones and Marty. I like them as well. Scorsese loves blues; when he first heard the Stones, he thought they were a combination of rock and blues, and loved their “gritty energy.” I don’t know how much traffic this series will gain, but I will continue it for a while. Thank you or your support, as always, Mike. It means a lot. :-)


Frank Atanacio profile image

Frank Atanacio 2 years ago from Shelton

Genna I am a big fan.. I dunno unlike Bill I enjoyed wolf of wall street.. thank you for this highlighted hub.. enjoyed the read and the entertaining information Frank


Faith Reaper profile image

Faith Reaper 2 years ago from southern USA

Stellar hub, Genna! I love your presentation. Your series is brilliant. I especially love your keen insight into each of Scorsese's films, his choice of composers and songwriters! Great quotes to introduce your next segment. My husband and I saw the Rolling Stones a couple of times back in the day, once on their Steel Wheels tour and then on their Vodoo Lounge tour : ). Ironically, we were watching Wolf of Wall Street this very night ... or trying too, but just cannot finish it. It is certainly an eye-opener, I will say ...

Genna, you are such an excellent writer, one of the best on HP. I enjoy reading everything you have written. I am looking forward to your next installment.

Up and more, tweeting, pinning and sharing

Hugs and blessings,

Faith Reaper


ocfireflies 2 years ago

Another rhythmic : ) presentation and hub. It was interesting to learn of the Rolling Stones connection. I agree with Faith. "Your series is brilliant." Voted Way Up!

Best,

Kim


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Frank…

Thanks for the visit and comments, my friend. I passed on Wolf because I wasn’t into seeing what I knew had helped to create the global financial crisis. A lot of these guys belong in prison. (Sorry, Marty…maybe next year. :-)) I think his best music was in The Departed…terrific. (The Boston accents were off except for Damon and Wahlberg; they were pitch perfect.) I loved the music in Age of Innocence and Raging Bull, too. There will never be anyone else like Martin Scorsese.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Faith…

So good see you…you always make my day brighter. Thank you for those kind comments and votes. Like Scorsese, the Stones are utterly unique, unbelievably talented, and endearing in their own way. One can’t help but love them. I can’t believe that Keith Richards is still standing – and functioning. Bless his heart. Every time I see him, I think of Johnny Depp’s adorable imitation of him in Pirates of the Caribbean. (It was a shock to hear of Scott’s passing last month; my prayers and good wishes to Mick Jagger.) Hugs.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@ocfireflies

Hi Kim. :-) Thank you for the comments, vote and encouragement. It takes lot of work and thought to write an installment for this series; so I am very grateful for the comments! Have a good weekend. Hugs.


marcoujor profile image

marcoujor 2 years ago from Jeffersonville PA

"Not many directors have the visionary talent to utilize music and movement as a narrative this effectively."

Martin is the man, Genna...I love all of his work, especially moved by the musical scores in 'Raging Bull' and 'The Godfather'.

Stellar work, detailed research...voted UP and UABI. Love, Maria


always exploring profile image

always exploring 2 years ago from Southern Illinois

This is great Genna. I love all the old movies, i didn't see Departed, but i will pich it up at the video store. Robert DeNiro and jack Nicholson are two of the best, so is Joe Pesci. Reading this was like being at the movies. The videos were great too. Very impressive hub, put together beautifully. See you when you return with Robert Redford who is another favorite. I guess you see that i love all the older actors and movies, rarely do i see a new movie coning out that i want to see..


DnWW 2 years ago

I’m a huge fan. I really liked that you didn’t spotlight only the gangster genre. There’s a lot more to Scorsese that people miss. Great job, Genna. I agree with billybuc. Keep ‘em coming. Have you thought about writing one on Tarantino?

Dana


Faith Reaper profile image

Faith Reaper 2 years ago from southern USA

Yes, Genna, bless Keith's heart indeed! LOL, Johnny was adorable.

Yes, it was a shock ... prayers and blessings too.

As far as Martin Scorsese, I agree, there will never be anyone else like him. As Ruby commented, reading your hub is like being at the movies!

Hugs


Pamela99 profile image

Pamela99 2 years ago from United States

I have always liked Scorsese's films and you did a marvelous job of presenting his work. He is such a unique film maker and I thoroughly enjoyed reading this account of his achievememts. Outstanding hub.


MartieCoetser profile image

MartieCoetser 2 years ago from South Africa

A soundtrack can make or break a movie. This is a very interesting series, Genna, focusing on directors and their ability to choose the best music for a specific movie :)


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Marcoujor

Hi Maria…

I agree Maria. They absolutely “broke the mold” with Scorsese. :-) Thank you for that thoughtful and encouraging comment, and for your votes. It is always such a pleasure to see you.

Hugs, and have a very Happy Easter!

@AlwaysExploring

Hi Ruby!

I so agree…there is no one else like Scorsese. I had to chuckle about the critics’ harshness with Robert Redford over Will Smith’s role of Bagger Vance and what they referred to as “negative stereotyping.” Will Smith sure didn’t mind…his character was so charismatic; he stole nearly every scene he was in. Critics are a pain in the tush sometimes. Then we have Jack Nicholson’s character in The Departed. Talk about being politically incorrect…yipes. He broke every PC rule in the book in less than 3 minutes. But Scorsese can get away with it because he’s Martin Scorsese. “We expect that with Marty.” He’s automatically given absolution. Lol.

Happy Easter, my friend. :-)

@DnWW

Hi Dana…

I couldn't agree more about MS. People were shocked when they learned he directed and produced The Age of Innocence, and also thought that Hugo was “a departure” for him. If it’s not criminal/gangster or the Last Temptation of Christ, it’s not Scorsese. I guess he’s not supposed to read Edith Wharton either. Lol. If he develops a passion about a certain project or theme, he will do it…that’s Scorsese. I thought about Tarantino, but I honestly don’t know enough about him, having seen only two of his films. Thank you for the comments, kind sir. Hugs to Molly. Happy Easter.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Faith

Thank you, again! I love your visits. :-) Happy Easter.

@Pamela99

Thank you, Pam! Scorsese wasn’t easy to write about…he is so diverse and wonderfully unpredictable, yet some of his fans can’t seem to accept a Scorsese film unless it centers on gangster life. I admire his versatility and passion about taking on whatever project interests him. Have a wonderful Easter, Pam.

@MartieCoetser

Hi Martie! Thank you for your visit and comments. :-) I only hope I can do this fascinating subject, justice and interest. My best wishes to you and your family for a lovely Easter.


tobusiness profile image

tobusiness 2 years ago from Bedfordshire, U.K

Hi Genna, I read this brilliantly creative hub during my tea break on the night shift, but wasn't able to leave a comment, so I'm back. Thank you for the trip down memory lane, I've seen most of Scorsese's film but haven't seen " Wolf of Wall Street," guess I'll have to watch it and make my own mind up. You've done a great job, enjoyed the video clips.


AudreyHowitt profile image

AudreyHowitt 2 years ago from California

I think we truly underestimate how much music adds to a movie and how difficult it is to score a movie--very cool write Genna!


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@ToBusiness

Hi there! Thank you for that generous comment. Scorsese has an amazing intuitive sense with the music he either chooses, or works with and directs with the composer to create with original scoring. He is one of a kind. Is it any wonder that everyone wants to work with him?

I hope you have a very enjoyable Easter. :-)

@Audrey Howitt

Hi Audrey. Thank you for that very nice comment. And you are so right about film composers. You have to have the right director, screen writer, and so forth. This is part of the synergy of artistic talent that makes a film great, as opposed to mediocre. The collaboration and communication between the director and the composer is crucial. For example, Robert Redford (which will be the next installment in this series), and the brilliant Elmer Bernstein (RIP) didn’t connect during the post production process of “A River Runs through It.” They disagreed on the overall tone of the music Elmer was composing. Redford’s style and pace in storytelling is very measured, and he wants the music to follow more traditional forms with melodic themes. Robert brought in Mark Isham to take over; Isham created a magnificent original score that was nominated for an Academy Award.

Happy Easter, dear Audrey. :-)


Nellieanna profile image

Nellieanna 2 years ago from TEXAS

Scorsese is INTENSE, PASSIONATE and EFFECTIVE. Those are the hallmarks of the music he chooses, too, as your highlighting them demonstrates so well.

Vince (Tom Cruise) dances with not just any pool cue, but the one he calls “Doom”. haha

Poor Eddie (Paul Newman). He made the mistake when he started to play against statistics. Always a losing proposition, though his odds had, up till then, fared better than statistically predicable.

“The Age Of Innocence” is one of my classic films I watch again and again. I admire Edith Wharton and what Scorsese has done with this story is genius. Its movement is carefully measured, as was the lifestyle and ‘age’ it depicted. Each scene is like a cameo of that lifestyle. The characters are so believable and their entrapment in the lifestyle is so well shown that it is felt by the viewer. The narration by Joanne Woodward is like being ‘in-on’ the action in progress, from that polite perspective of her voice and choice of words.

Your hub makes me want to go to my shelves and bring out s several of the movies which I own and need to re-view! The Aviator is one I haven’t watched in a long while. How right you are that it would take a series just to touch upon, let alone encompass, Scorsese’s work!

Great work here!!


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hello Nellieanna!

What a pleasure it is to see you! (I just left another comment for you in response to the one you wrote on the Spielberg hub.)

Yes, those three words describe Scorsese, perfectly. What I found so interesting about this filmmaker was learning about his childhood and how this influenced his films and music selections. Little Italy in those days was fraught with problems we see in some of his mob/gangster films. He once remarked that it was a very family-oriented neighborhood. However, there were diverse directions in life one could take. A few of his friends took a different path and were never seen or heard from again.

I love Age of Innocence…I think Scorsese did a magnificent job in translating Wharton’s tone to the film via Joanne Woodward; the sumptuous yet stifling surroundings, so carefully choreographed; and the music that carries the heart and mind to that measured poetry.

Thank you for those wonderful and perceptive comments. Hugs, and I hope you are enjoying our spring. :-)


Nellieanna profile image

Nellieanna 2 years ago from TEXAS

Oh, yes, Genna. I also find it interesting about Scorsese’s early background and its influence on his films. I’ve loved “The Godfatther” movies and find most movies about the early Italian Mafia interesting. It’s fascinating that the people involved are such close-knit, loving family folks, despite their awful cruelty and life outside the law. There are societies elsewhere in which that is the rule, too. I’ve read about some of the traditions of Afghanistan, for example, and the generations-old life-styles. When people from such cultures come here, they bring the old ways with them, and perhaps the challenges faced just in relocating may even intensify it. I’d think that in crowded multi-cullural areas such as Scorsese’s old neighborhood may have been, that would definitely be the case. The ‘land of opportunity’ would not necessarily be that simple.

I admit I”m entranced with the period of late 19th-early 20th century, in both England and America. When upper-class mores are added to the accounts, it is fascinating. Possibly that's the allure of “Downton Abbey” and others of that genre which are among my favorites. Wharton does that so well for that period of aristocratic New York society. The actors in “Age of Innocence” are incredibly good, too. Yes, the music background of it has a kind of subdued reticence which suits the time and place.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Nellieanna…

I am fascinated with that era as well. Perhaps déjà vue…have we been there before? There is something recognizable and familiar about it; a tugging at my subconscious and sensibilities that is hard to define. This all sounds quite foolish, and is probably the workings of an overactive imagination. :-)

Thank you for your special comments! It's always a pleasure to see you.


Peggy W profile image

Peggy W 2 years ago from Houston, Texas

The right choice of music is so important to the success of a film. I am enjoying this series of yours. Up votes and sharing.


Glimmer Twin Fan profile image

Glimmer Twin Fan 2 years ago

Great hub, glad it was shared. The soundtracks to Scorsese films are unbelievable, especially Casino and Goodfellas. He just knows what to play when.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@PeggyW

Thank you, Peg. I enjoyed writing it! :-)

@Glimmer Twin Fan

I agree...he has a sixth sense about music. Good to see you,, and thank you for the comments!


suzettenaples profile image

suzettenaples 2 years ago from Taos, NM

Martin Scorcese is one of my favorite directors of film. I have seen many of the ones you write about and I have to agree with your assessment. And, the music he chooses is so right for the film, no matter what period his film is about. I agree with you that the end of the film "The Age of Innocence," is so quietly powerful and one of the best endings to a film ever. Scorcese will go down as one of the greatest if not the greatest of film directors and yet he has never won an Oscar. It is such a shame that the Academy refuses to award him an Oscar. I enjoyed reading this and you have chosen so many of my favorite directors and favorite music to write about.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Suzette...

Scorsese is the director that every actor wants to work with. Being cast in one of his films is like winning the Academy Award; he is that respected and admired. Actually, he won an Oscar for "The Departed." It took the Academy long enough. Ironically, when he was nominated for "Raging Bull," the prize went to Robert Redford for "Ordinary People." Thanks so much for reading, and for your continued support, Suzette. I hope you are enjoying your weekend. :-)


pstraubie48 profile image

pstraubie48 12 months ago from sunny Florida

I am so enjoying this series, Genna. Shine a Light and the Blues are two that are particular favs of mine.

Sorcese really is a master...how fortunate for us that you are showcasing such talents.

Angels are once again on the way to you ps


Genna East profile image

Genna East 12 months ago from Massachusetts, USA Author

Good morning, Pat. Thank you so much for following this series. Yes, Scorsese is a virtuoso; he understands music as part of the tempo of our everyday lives, and demonstrates this understanding in brilliant ways that evoke emotion and thought. He is a master with music in film.

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