An Analysis of New York City in Martin Scorsese’s Essay

Among the major names in the burgeon forth directing profession in the world, M blindin Scorseses is just about likely dependable or at the very top of the listas bright as the city he has chosen to saycase in most of his c beer pieces. Using unused York city as his backdrop, Scorsese has created margin haves that explore the intricacies of specific human qualities, tightly connected to themes of identity, religion, and psychology.Three of his makesMean Streets, Taxi driver, and Life Lessons splay the distinct signature of an artist with an immediate message, which is cl too soon influenced by the dynamics of the inimitable lifestyle of unsanded York urban center. A native of Flushing, New York, Martin Mar mickletonio Luciano Scorsese started planning his life as a priestwhich is not at each surprising, considering his Italian and Catholic upbringing. However, he shifted goals at some point and graduated with a film degree from New York University in 1964, when he was twenty-two.Soon later that he became involved in film productions under the tutelage of several directors and producers, and finally emerged with his first notable feature film, Mean Streets (Brown, 1996). This particular wager signaled the birth of Scorseses iconic style, which is markd by idiosyncratic divisions and their internal beats, marked by assorted circumstances exposing violence, racism, and oppression. Religious topics and details are also common in Scorseses work, which, in the past, true the ire of staunch religious groups.Scorsese is also known for building the careers or collaborating with specially-chosen compriseors, such as Robert De Niro, Harvey Keitel, and, in recent years, Leonardo DiCaprio. Each of these actors has starred in at least bingle iconic Scorsese film De Niro and Keitel in Mean Streets and Taxi Driver, and DiCaprio in The Aviator and Gangs of New York. Common among most of these films is still the annexation of New York City as the influent ial setting in playing out each characters goal and dilemma.Credibility and accuracy in portraying the life inherent in New York City are integral in Scorseses work, and the nature of the city as a liquescent pot of tillages and its reputation for being the end goal of all personal ambition provide much than enough motivation and reason for the many an(prenominal) twists and turns that take military post in the characters minds and on the streets. II. Living the gangster Life The Italian Identity in Mean StreetsOne of the most definitive of New York Citys life and color is the presence of a multitude of cultures this is largely caused by the representation of immigrants from all over the world, who have brought with them the distinct traditions and values of their countries of origin. The Italian community is mainly known for its influence on New York City cuisine, religion, and, as historically documented, organized crime in the form of the Mafia. Mean Streets is inherently I talian in identity, as it is set in New Yorks Little Italy in the early 1970sthe territory and environment of most known Mafia-gangster groups.The portrayals of Charlie and his friend Johnny BoyKeitel and De Niro, respectivelyare excellent examples of life within the gangster reality, of non-negotiable orders, surprises and sudden decisions, the possibility of assault and instant death. This kind of life, however, is not incessantly chosen by those who find themselves in it Charlie, for superstar, lives by the dictates of family and religion, and refuses to take a stand on anythingeven if he is plagued by his own guilt.Johnny Boy, on the other hand, is the quintessential gangster, the product of family bequest and history and his pleasure in romanticizing violence and aggression. These two personas reveal some of the most prevalent even so opposing attitudes regarding life in New York Citythe struggle to accept a predetermined career, and the arrogance of identity based on othe rs experience. New York City is therefore a complex mixture of culture and identity, and these are often appropriated by those who desire to make their voices heard in the din of triumph, failure, and everything else in between.Religion, ethnicity, family, and other inherent traits that contribute to create an identity that great deal set one apart from the faceless proportion are apparent means for survival, which is essential in the midst of such an unforgiving address. III. Left only and Unnoticed Idealism, Racism, and Violence in Taxi Driver De Niros portrayal of Travis Bickle in Taxi Driver symbolizes the outcome of a person left to survive on his own in the complicated snarl that is New York City in the mid-1970s.What begins as a man with fervent dreams of success and fulfillment in the capital of realized wishes can end in cynicism, hopelessness, and despair. Idealism sets the pace for the ultimate acts of violence and racism, compete out by succeeding episodes of reject ion and perceived injusticespecifically in the context of sex and acceptance. Bickles down fightd spiral into madness is caused by his own set of values, which includes his thinkerlization of women, superiority of race, and self-entitlement coming from the war experience.Finding himself in a world where he is rejected by a woman he admires, where viciousness and child prostitution exists, and where blacks are shown to call the shots through violence and extortion, are enough to crop Bickles concept of reality and purpose. Ultimately, he decides to take matters into his own hands, in a defining act that finally pronounces his voice and presence. Rejection and disappointment are part of the New York City lifestyle, given the constant struggle and competition naturally occurring within such a lucrative environment.Likewise, the reality of prostitution and other forms of immorality are necessary effects of the ongoing tests of ones desired fate, since negation and failure will al foc al points need a stopgap measure and means for release or revenge. This complicated economy may not always be easy to comprehend, much less seen as ones way of life that Bickle is established with traits akin to surreal idealism makes New York City a symbol of two fulfilled dreams and unrealized goals. Bickles persona is common among many who have decided to find their success in the city yet is only armed with traditional ideals of morality, justice, and equality.Race is an evident issue, particularly if it figures in the equation of opportunity and chances for success blacks, to the white Bickle, represents all things he finds wrong in the city. Finding throng of a different set of morals is also a trigger for Bickles downfall, since he finds himself unable to impose his own ideals on them. New York City is shown here in its element, with the images of political action and bearing during the day and graphic evidences of violence and the sex trade at night.These two pictures o f the city plainly show that it is not for the weak, nor for the idealistic what is essential is toughness and open-mindedness in order to understand the nature of New York City as a place where everything can and will happen. IV. The Master and the Servant Creativity and Political parsimoniousness in Life Lessons This installment in the bigger project that is New York Stories is Scorseses contribution to the embodied efforts made with fellow film icons Francis Ford Coppola and Woody Allen.Life Lessons is a simple story just somewhat artist Lionel Dobie, played by Nick Nolte, and his lover/apprentice Paulette, portrayed by Rosanna Arquette, who both bind in the literal and figurative significance of a two-way relationship. Dobie, being a famous repeal artist, imparts his knowledge, skill, and social connections to Paulette, who in turn repays him by serving as his muse and sex partner. Their relationship comes to a turning point when Paulette decides to move on and see other me n, which causes Dobie to become insanely jealous.But it is this jealousy that eventually drives him to create his best work, and thus he forces Paulette to stay with him by selling her on the idea that New York City is the only place for an aspiring artist like herself. Evidently, Dobie lives on his negative emotions to survive, and has through exactly the same in his past relationships. In the end, Paulette makes good with her original decision and leaves, and soon Dobie is shown encounter another young female artist whom he convinces to become his new apprentice.This scene is shown with much intimate connotation, leaving the viewer to conclude that Dobie has once more found his muse. Art is never just for arts sake in New York City while some of the best minds are indeed residents of the locale, the competitive conditions and social norms that define it are also necessary factors to consider in appraising ones success. Talent is never just the sole requirement in making it big in New York City, mainly because of the sheer number of individuals of excellent gifts trying to make names for themselves.Thus this brings about the reality and importance of social connection and status in order to succeed in a place abound with skill and opportunity, one must look beyond the singular benefit of natural endowment and employ all possible elements that can directly or indirectly help realize his or her goal. In this kind of situation, not everyone asked to assist will want to do so without claiming anything backafter all, the brand of opportunity existing in New York City is essentially available whenever and wherever one sees fit to call it forth.Intrinsically, New York City is probably the one significant environment where making and dealings transactions is the name of the game to participate, one must have something to sell and/or buy. V. Conclusion Martin Scorseses depiction of New York City in the three films mentioned is, quite understandably, based on his ow n perceptions and experiences. These bases, however, are truly authentic and realenough to convey a significant concept of New York City, as well as its nuances.The appropriation of identity in Mean Streets, idealism in Taxi Driver, and creativeness in Life Lessons is truly apt and relevant, considering that these three themes are probably the most prevalent notions that define the city, albeit taken to each themes extremes. New York City may import in an assertion of identity or its eventual loss, depending on a persons chosen path or decisions. It could progress the concept of idealism to its highest degree, particularly when success is met and values are replicated, yet it could also result in the erosion of idealist thinking, if all experiences are negative and disappointing.Lastly, the New York City experience can stimulate ones creativity, since it is the one of the worlds capitals of art, yet can also hand out the fire that burns ones passion, if the right connections and exposure are not met. Nothing can be simply in the middle ground with regard to life in this city, as most things either fulfill or destroy existing beliefs and objectives. New York City is truly an enigma, a place that exists both in the mind and in its physical sense while these two spaces may not always have the same traits or premises, the fact remains that it is an aspiration, where one should make it.Scorseses attempts at putting together a credible representation of New York City is laudable, but in truth, many more interpretations are still waiting to be conveyed. Such is the meaning of convergence, where anything and everything is possible. References Brown, M. (1996). Martin Scorsese. God Among Directors. Accessed on 10 April 2009 from http//www. godamongdirectors. com/scorsese/index. shtml Scorsese, M. (dir. ) (1989). Life Lessons. New York Stories. Touchstone Pictures (1973). Mean Streets. Taplin-Perry-Scorsese Productions. (1976). Taxi Driver. Bill/Phillips.