The year is 1970. The musical finale perfectly relates to the story of a man whose successful lifestyle spiraled out of control and landed him in into Hell. Episode 236: Egg Noodles & Ketchup w/ Danny Bessner. Martin Scorsese’s GoodFellas is not great because of its portrayal of the Mafia, although it is probably the most realistic – and best – portrayal of that world on film. Scorsese first read about Nicholas Pileggi's book Wise Guy in 1985 while filming The Color of Money. GoodFellas enters a new stage after Henry gets out of prison (incarcerated for assault) and embarks on a career as a drug dealer, something forbidden to him by Pauly, who is opposed to drugs because bosses can go to prison for the rest of their lives simply by being associated with dealing soldiers. Cut to Jimmy being arrested. The instability of the world is depicted masterfully in one of the film's most famous scenes, soon after this introduction. Language is tricky in GoodFellas – remember the "funny" scene and the plethora of things "funny" could be taken as – and Tommy's death is demonstrative of this. "Unless?" "Oh, a problem, and he's gone. Henry wonders. Jimmy exclaims. Karen and Henry are married, but we notice the sudden contradictions to Henry's life. The violent animal energy, synched with the music and our simple human anchor (Henry) results in a scene that is instantly classic. A man wrapped in white, covered in blood. I'm an average nobody. They're friends, “good fellas,” but the dictates of the culture means that there are no absolute mortal allegiances. "Now go home and get your fucking shine box!" Tommy then pulls out a large kitchen cutlery knife. Raging Bull had failed to bury him after all, and he continued to make movies in America, though still any kind of commercial success evaded him and he had to fight, sometimes pyrrhically, to get his dream projects realized (the best example being The Last Temptation of Christ). Instead it's the version of Vicious, the notorious Sex Pistols' bass player who allegedly stabbed his girlfriend Nancy Spungen and then died of a heroin overdose while awaiting trial in 1979. It was a power that extended back thousands of miles and thousands of years, a silent law that held a feudal system in balance. There's, Cut to a hand-held perspective from the garage of Henry looking at the sky. As they accept a few cartons of cigarettes, one of the cops says, "Jimmy, I'd complain but who'd listen? In Goodfellas, suburbia and its blandness are exactly where Henry Hill ends up, living "like a schnook" with his "egg noodles and ketchup," though a post-script tells us that he made a break for it, after getting a divorce and leaving the Witness Protection Program. The beating goes on for about thirty horrible seconds, while Nicky's own beating will follow, and be only a few seconds before the film cuts to his body being thrown into a hole. In the neighborhoods that Martin Scorsese and writer Nicholas Pileggi grew up, the most powerful influence throughout the 20th century on the residents was, quite simply, the Mafia. Noodles & Ketchup. The camera tracks along an undisclosed suburban location in development. Drums begin pounding, and as Henry backs up into the street with Lois, he notices flashing red lights. He leaves the bar, telling Jimmy, "Keep him here!" The gamblers were given control of the casinos, just as the directors were given control of the studios. Hey, how you doin'? "My daughter says that you're half Jewish," the mother smiles nervously. Henry's eyes look on, shocked at both Jimmy and Tommy – whose expressions during the violent assault are completely alien from anything human. He warms her over with promises, grabs the coke, and then laughs at her as he sneaks out, a snide performance of mischievous machismo. GoodFellas seems like a welcome oasis for its time, Henry Hill's prison sentence in the suburbs not unlike the trailblazing directors of the 1970s who likewise had to face the music in the new decade. Design by :- Eliza Jack. They can double park and stay out all night making noise, and no one complains. As it stands, Liotta is out there in the unknown, a lost schnook with his bowl of noodles and ketchup. My mother has some fried peppers and sausage waiting for us!" The whole movie has been a jukebox, and now the songs are coming at a rapid fire rate to match the palpitating heart of a man who is approaching an overdose. "And a lot of other things." Wise Guy was the project he had been waiting for. A more hilarious realization is in how we see the sociopathic gangster Tommy DeVito (Joe Pesci) tell his stories, which are often unintelligible in their vulgarity, but nevertheless laughably entertaining for his wise guy audience. Download or listen to voice quotes and sound clips sampled from the movie Goodfellas (1990). "What?" The painful implication here is how it's much more horrible to watch someone watching a loved one being killed in such a terrible way than it is to just see that person. The generic, normal "safe" world may ensure one will be alive – at least for a while longer – but what's lost is the witness' relationship and bond to his, peaks with the famous 10-minute sequence dubbed "Last Day of a Wise Guy," ending with Henry's capture by suspecting narcs which leads to his incarceration and doom. Scorsese does a pair of jump cuts as Henry looks out his window while patting the meatballs and preparing his "perfect cutlets.". The dream is over, and with that, Henry has to face the music – of which there is none. Even though egg noodles and ketchup constitute Italian food in his new neighborhood of Independence, Kentucky, Henry smiles at the camera with the local newspaper under his arm before walking back into his new tract house. In GoodFellas, the wise guys are criminals – they thrive and live or die by their world of crime and sin. But I don't shine shoes anymore.". I'm an average nobody... get to live the rest of my life like a schnook. Of course, both Pauly and Jimmy will be given up during Hill's next appearance in a courtroom, the celebration of becoming a criminal juxtaposed with becoming a rat in the arms of the law and, as Hill calls it in this early section, "pledge allegiance to the flag and good government bullshit. Muddy Waters' vocal from "Mannish Boy" enters: "Everything, everything gonna be all right this morning. Why should Jimmy have to pay some other guy their cut when he can just keep it? These early scenes of double dating on the part of Henry and Tommy are indicative of a kind of more open – if still nevertheless tribal and subtly racist – attitude in Henry's generation, when compared to Pauly Cicero's or the older gangsters. Scorsese opens the sequence on the exit door as the last of Batts' friends exit. He immediately cuts to an angle looking straight down on Batts falling to the ground. Batts yells after having his drink. Snapchat Ray Liotta - Good fellas - Egg noodles with ketchup. But Ginger is probably the most sociopathic character in Casino, which is what makes Sharon Stone's performance so notable; it's not just a serious part involving a lot of screaming, drug use, and intensity. We cut back to the film's opening as Jimmy and Tommy finish the job on Billy Batts (after Tommy stops at his mother's to pick up a shovel, the mother – played by Catherine Scorsese – insisting that she cook for them before they leave), ending with the same dolly towards Henry, this time his image saturated in red and joined by the sound of sausages sizzling in a frying pan. Ray Liotta, fresh off. The derogatory term "wop" derives from how many of these immigrants were sent on their way, kicked out of Italy "With-Out Passports." It's as if the film had been working to this crescendo, and after this moment, though we are completely in Henry's – and Scorsese’s – hands as spectators, we can't possibly believe that the film can soar this high again in the film; we are wrong. Scorsese then cuts to Tommy pistol whipping Batts and Jimmy stomping on him. We've just been initiated into Henry Hill's world. We see what they see. This world of wise guys was real, but it was also ancient, a secret society and brotherhood. – Henry needs to stop at his girlfriend Sandy's (Debi Mazar) apartment and mix in another ingredient with the cocaine, something that will be difficult because Sandy will probably be needy. The music is glorious, triumphantly relating lyrically a pursuit for wealth – which paradoxically leads to incidents such as this. When he is visibly contemplating the murder of his accomplices, Cream's "Sunshine of Your Love" is on the jukebox. She narrates that typically “they're just looking for a hand-out to keep things quiet,” reinforcing the perspective we saw in the film's prologue, that law enforcement is inherently corrupt to begin with. Everything is taken care of. But she interrupts him. Even though he detests the kind of "working stiff" existence normal Americans work, that's exactly what he is – a working stiff. It is melancholy, about an intelligent man who winds up where he began, everything that he ever loved having passed on and died. They used to call him spit-shine Tommy." But first - !!?? "Did I get a flat?" He stomps on the break, having ultimately to use the emergency parking break in order to prevent an accident. #food #henry hill #ray liotta #restaurants #spaghetti. The city was founded on blood, but there were ties of mutual respect. "Hey what do you want, Henry? Peter Sabatino. The legacy of both films is intact and strangely has been a little unfortunate for Scorsese's subsequent work. Incidents vaguely become things, and very concrete things are communicated by gestures or expressions (Pauly simply looking at a person a certain way induces silence and prudence). I make you laugh? At the conclusion, as Henry’s in the suburban hell of Witness Protection, Henry complains about ordering spaghetti but receiving "egg noodles and ketchup." Tommy shakes his head and speaks candidly to Henry, "I didn't mean to get blood on your floor." "Hey, here's a leg!" and also insinuates that Batts "bought his button," or his made status. "Ohhhh, all right," Henry says. GoodFellas peaks with the famous 10-minute sequence dubbed "Last Day of a Wise Guy," ending with Henry's capture by suspecting narcs which leads to his incarceration and doom. He not only bypasses the waiting line of the club, but everyone inside greets him as a likable regular, and the owner gives him a special seat up front, and on top of that another guest presents him a complimentary bottle of expensive wine. In Casino, Scorsese was now a part of Hollywood’s aristocracy, though still dreaming of his stardust memories. Nillson's wailing vocal mirrors Henry's car as he abruptly turns, trying to steer clear from the helicopter that hovers above. If Casino completes a kind of De Niro/Scorsese/Pesci/Schoonmaker trilogy, its key resonance beyond tribal/gangster dynamics has to do with how those previous two films were dying organisms of a fading time in American movies. Daniel Day-Lewis, preparing his work on The Age of Innocence two years later, even remarked to Scorsese how the film made him uncontrollably hungry. It's a baroque epic tragedy, as indicated by Bach's St. Matthew's Passion, which opens the film as the soul of Sam "Ace" Rothstein (De Niro) plummets through the fires of Hell and electricity of Las Vegas. The other mafiosos laugh, and Batts continues to talk about Tommy. "Oh he'd make your shoes look like fucking mirrors. Hill, on the other hand, seems too addicted to the drug lifestyle to quit and has continued to get into trouble with the law since going into Witness Protection. The idea is that the whole world between these two characters is changing, but the words being spoken by Jimmy have nothing to do with that detrimental reality. We are Ron Richards, Josh Flanagan, and Conor Kilpatrick, and we are the hosts of Goodfellas Minute, the only podcast that analyzes the Martin Scorsese film Goodfellas one glorious minute at a time. The other important event during this part of the film is Jimmy's execution of the Lufthansa Heist, the biggest robbery in the history of the United States. December 8, 2020. As Henry keeps his eyes steady on the road while driving, a dozing Jimmy and Tommy are alerted by a bumping sound. The scene where Henry's fate becomes transparent to him is during a breakfast he has with Jimmy. Jimmy's sensitivity and growing paranoia lead him to kill off almost everyone associated with Lufthansa, including some of his closest friends. He walks outside of the comfort of fictional representation and talks to the camera, walking into the courtroom audience as he approaches the film audience, wrapping up his story of how he once had it all, "and now it's all over." This was Scorsese and Pileggi's idea for the voiceover of Henry Hill (Ray Liotta) in, Though true life gangsters are in love with the more Romantic portraits of, Scorsese first read about Nicholas Pileggi's book, Scorsese reteamed with De Niro, Pesci, and producer Irwin Winkler, and worked with Pileggi into fashioning the non-fiction material into a film narrative. Tommy goes to a house to be made. Scorsese goes back to the beginning of Henry's story, 1955 in the old neighborhood. The comment is that he ordered marinara and got noodles and ketchup. But she still needs to cover up his cross for fear that her mother will see it. But more than Karen, we’re seduced. Hill, on the other hand, has a tough-love Irish father very disapproving of the wise guys, and a Sicilian mother who micromanages. Cut to a hand-held perspective from the garage of Henry looking at the sky. Don't you move you motherfucker, or I'll blow your brains out!". Henry does it with a lot of hesitation, going on the miserable double date where Tommy's seduction of the "Jew broad" is mirrored by Henry and Karen's apparent lack of interest in each other. As Henry keeps his eyes steady on the road while driving, a dozing Jimmy and Tommy are alerted by a bumping sound. It is not graceful like the elder film, nor nihilistic like the latter. Goodfellas (1990) Ray Liotta as Henry Hill. The whole movie has been a jukebox, and now the songs are coming at a rapid fire rate to match the palpitating heart of a man who is approaching an overdose. Just before GoodFellas was released in 1990, Raging Bull – a film that received a mixed-to-good reaction upon release – was unanimously considered the best film of the 1980s. The problem is that Billy Batts, as a made guy, is entitled to "break balls." Henry takes notice and gets in his car. "Look, here's a wing!" Unlike Henry and Jimmy, Tommy, Billy senses he's offended Tommy, and tries to straighten things out. Episode 236: Egg Noodles & Ketchup w/ Danny Bessner. Henry is once more in a courtroom, on the witness stand and pointing his finger at both Pauly and Jimmy. The pummeling of Billy Batts continues, until Tommy almost shoots him in the face, the gun and bullets swatted out of his hand by Jimmy. "Sometimes you don't sound like you're kidding. "It was revenge for Billy Batts," Henry narrates. At the end of the movie “Goodfellas,” mobster Henry Hill wakes up to a day in witness protection in some soulless nowhere of an exurb. ", The film cuts to 1963, where we're taken to one of the wise guy hangouts, the Bamboo Lounge. Scorsese does an interesting thing here. "And that's that," Vinnie says, approaching the body. When drugs come into the picture, Karen's voiceover contribution (an interesting innovation on Scorsese and Pileggi’s part) stops completely, as if any agency or independence she carries has surrendered to the lifestyle. We're in a calm place here, our own sense of not knowing "what the fuck is that" similar to the characters'. He gives her a large wad of bills, and she repays the favor by fellating him. "What the fuck is that?" The main musical motif in Casino is appropriately Georges Delerue's beautiful "Theme de Camille" from Godard's Les Mepris, a film about films, in addition to a hopeless marriage and an inability to hold onto images of desire. It's a masterpiece of editing and design and on its own stands as the biggest protest to the integrity of Academy Awards ceremonies, not only seeing how Scorsese and his film was beaten by Kevin Costner and, The title on a black screen opens the sequence: Sunday, May 11, Think about how relentless the film is with its music. As he seems to halt, the camera pans right, past Batts and Jimmy, and onto Henry smoking at the other end of the bar. Henry has no problem dating a Jew, just as Karen has no problem dating a Christian. Derek and the Domino's "Layla" epilogue plays as the corpses of familiar faces are discovered in parking lots, trash heaps, and freezer trucks. The wise guys were talking to us, Henry's accomplices in this journey. The title gives a setting: May 11, 1970 – the same year as the picture’s beginning sequence. He's interrupted as the glimmering metal of a pistol is pointed at his head. "No…" "What the fuck, you better pull over and see." This is an in-joke for Scorsese, Pesci, and Vincent, being that in Raging Bull, Joey beats the hell out of Salvy, going so far as to smash a car door repeatedly on him. Henry and Jimmy, the "two Irish hoodlums" as Batts calls them (an important detail being that Henry and Jimmy's Irish blood keeps them from being "made men"), sit together, somewhat apart from Batts' entourage. In GoodFellas, Pesci again beats the hell out of Vincent in the famous Billy Batts scene. The line between violence and hilarity is blurred here, an apt description of the wise guy existence. “I like going this way. "We had a bit of a problem," Vinnie tells Jimmy. Henry has no problem dating a Jew, just as Karen has no problem dating a Christian. Batts is talking to Jimmy about doing time. "Only cops talk that way," he narrates. I'm an average nobody. This is not throwaway violence for violence's sake. 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