There’s something mesmerizing about Martin Scorsese and the answer as to what finally dawned on me while watching him accept the Cecil B. DeMille Award at the Golden Globes almost a month ago. No, it’s not his furry caterpillar eyebrows tucked behind his bold, thick-framed glasses, nor is it his infectiously happy speech and big-toothed grandpa grin. To be precise, it’s his absolute and lasting love of all things cinema, which was unmistakable as I listened to his gracious remarks after receiving the prestigious award from the Hollywood Foreign Press.
Don’t believe me? Consider Scorsese’s 64 Oscar nominations and 15 wins (along with 51 Golden Globe nominations and 9 wins) over the last 42 years and show me another director with the similar accolades who isn’t considered one of the greatest of all-time. Add to Scorsese’s resume his romance with film history and film preservation and it’s easy to see the pure love and craftsmanship he saturates in each and every movie he directs. Nothing could be truer of his newest picture, Shutter Island, faithfully adapted from the 2003 novel of the same name by Dennis Lehane, who is also the brains behind Gone Baby Gone and Mystic River (made into fantastic movies by Ben Affleck and Clint Eastwood, respectively).
Congratulations to the New Orleans Saints on winning Super Bowl XLIV in what may have been the most boring NFL championship since, well, the last time the Indianapolis Colts went to the Super Bowl in 2007. And while I love football as much as the next dude, I won’t lie – I anticipate the commercial breaks in the hope I’ll see some genius advertising or some phenomenal movie preview.
I was reaaaaaalllly looking forward to Martin Scorsese’s new film, Shutter Island, this October and cried salty, bitter tears when Paramount Pictures announced last week they were moving the picture’s release date to February 19, 2010. Brad Grey, chairman and CEO of Paramount Pictures released the following statement today:
Dennis Lehane Talks Shutter Island Ending
This brings me back around to Shutter Island. Fans of the book were probably relatively pleased with Martin Scorsese’s celluloid adaptation. I gave Shutter Island a solid B and felt it was a virtual step-by-step translation from page to screen. Many critics and patrons have cried foul at the films twist ending, but those points miss the point. It’s not gimmicky. It’s not cheap. It’s not thrown in by mistake for convenience. The ending is connected to the soul of the book and is supported by immense character study and depth. Perhaps that is why it isn’t cheap and tawdry.
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