By Leighton Grist; Palgrave Connect (Online service)

ISBN-10: 0230286143

ISBN-13: 9780230286146

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Additional info for The films of Martin Scorsese, 1963-77 : authorship and context

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In which Gaga is despatched to find some women to entertain guys at a party. Likewise, when Ben bemoans his own and his friends’ incessant, meaningless picking-up of girls, Tom corrects Ben’s designation of the female with the term that resonates throughout Scorsese’s film: ‘Broads’. Further comparable are the way in which the films open and close. Shadows begins with Ben crossing a busy day-time street to meet Tom and Dennis on the opposite sidewalk. It ends with Ben again crossing a busy city street, only this time he is walking away from Tom and Dennis and it is night.

30 in the morning implies a desire for reconciliation. R. apologizes for his behaviour regarding the rape. However, his physical clumsiness is merely a prelude to his more hurtful emotional obtuseness. R. ’. ’s ready anger can be seen to lay bare the hostility that underpins his ‘forgiveness’. R. can assimilate the idea that “his” woman has been sexually possessed (in fact raped) by another man is to convert the sense of jealousy and sexual anxiety into “forgiveness” … for him to forgive is to punish, and to save is to take revenge’ (1995: 45).

Scorsese has admitted that his upbringing instilled a misogynistic view of women: ‘I grew up in a certain kind of culture: Sicilian, Roman Catholic; women were separate entities; and the madonna–whore dichotomy encouraged fear of them, distrust, and, because they didn’t seem like real human beings, difficulty in relating to them’ (Rosen 1975: 43). In It’s Not Just You, Murray! the madonna–whore dichotomy is literally reproduced. On one hand, there is Murray’s mother, devoted to her son. On the other, there is Murray’s wife, revealed to be an adulteress.

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The films of Martin Scorsese, 1963-77 : authorship and context by Leighton Grist; Palgrave Connect (Online service)


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