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- THE WOLF OF WALL STREET MOVIE 2013 FULL MOVIE DRIVER
- THE WOLF OF WALL STREET MOVIE 2013 FULL MOVIE CODE
But Belfort learned his lesson, right? He went to prison and everything? Case in point: this account of a night at the movies with Jordan Belfort's biggest admirers. For the Scorsese viewer, banker douchebaggery hits closer to home than mobster douchebaggery. Another explanation, though, is that Scorsese's audience-college-educated middle- and upper-middle-class film nerds and the like-is far more likely to know someone like Jordan Belfort than someone like Henry Hill, even if the Wall Street titan you went to college with hopefully doesn't sink yachts in the Mediterranean or sex up hookers in the office elevator.
THE WOLF OF WALL STREET MOVIE 2013 FULL MOVIE CODE
At Stratton Oakmont, the only moral code is to make as much money as humanly possible, no matter the deception required. Here's one reason: part of what makes mob movies so alluring are the complex and inscrutable honor codes and family rules that govern mob life, even with all the killing and double-crossing. Those films, you'll recall, are full of scummy mobsters carrying out hits and putting people's heads in vices. Scorsese replaced De Niro with DiCaprio as his go-to male lead years ago now, Jonah Hill makes a surprisingly adept fast-talking sidekick seemingly modeled after Joe Pesci. Not only is Wolf another three-hour epic about organized crime, it bears the flashy tone, fast narration style, and decadent plot arc of Casino (and, to a lesser degree, Goodfellas) to a startling degree. The parallel isn't so silly as it may seem. Why do people complain about how immoral Wolf of Wall Street is when they loved Casino and Goodfellas? Admittedly, that'd make for a less glamorous movie. Ĭonsider that what's discomfiting about Wolf, then, isn't how it glorifies the bad guys, but how it steers clear of the victims entirely. And it's easy for audiences to forget that white-collar crime isn't victimless crime, that Stratton Oakmont's swindling cost real human collateral. It's understandable, given that cinematic treatment, for those who lost life savings to Belfort's greed to feel played. They're invisible-v oices on the other end of the cold-call phone lines.
Which brings us to: How does Scorsese's film depict Belfort's victims? Only thing is, Belfort's the only narrator, the only vantage point Wolf provides for his crimes. But Wolf, too, establishes Belfort as a fundamentally unreliable narrator (even if an outrageously entertaining one), most memorably during the already-infamous driving-on-Quaaludes scene.
THE WOLF OF WALL STREET MOVIE 2013 FULL MOVIE DRIVER
Vulture's David Edelstein points to Taxi Driver as having drawn a thicker wall between subject and filmmaker. And Wolf's view of Belfort's greed is so unflinching as to be nauseating in parts, unless you aspire to be a stockbroker billionaire snorting coke off of prostitutes' asses, which-well, we'll get to that in a bit.Īnyway: whether Scorsese condemns Belfort enough-or whether it's his job to do so in any sort of moralistic fashion-is another question. Scorsese carries with him a long filmography of desperately masculine and intensely flawed protagonists-think Jake LaMotta, Travis Bickle, and Henry Hill, for instance. Does making Belfort the "protagonist" make the film an endorsement of his douchebaggery? Spoilers may follow (though, frankly, it's hard to "spoil" a film that has as inevitable a plotline as Wolf of Wall Street). So: are we? McDowell's scathing take prompts some worthwhile questions. What makes you think this man deserves to be the protagonist in this story? Do you think his victims are going to want to watch it? Did we forget about the damage that accompanied all those rollicking good times? Or are we sweeping it under the carpet for the sale of a movie ticket? They can't pay their medical bills or help send their children off to college because of characters like the ones glorified in Terry Winters' screenplay. They're left destitute, having lost their life savings at the age of 80.
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Belfort's victims, my father's victims, don't have a chance at keeping up with the Joneses.