Review of: Casino Scorsese

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On 18.02.2020
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WГhrend zu Beginn die Spielauswahl auf Roulette, Roulette und.

Casino Scorsese

Martin Scorseses Mafiadrama Casino zeigt die Mafia im schillernden Las Vegas der frühen Siebziger, welches hinter dem Vorhang der guten Laune von Geld. Casino ein Film von Martin Scorsese mit Robert De Niro, Sharon Stone. Inhaltsangabe: Las Vegas hat zwei Gesichter: das eine ist glamourös, das andere ist. Casino. Leben und Sterben in Las Vegas. Las Vegas, Nevada, in den siebziger Jahren, wie der Regisseur Martin Scorsese es sieht. Es leuchtet. Zunächst aber.

Die Filmstarts-Kritik zu Casino

Martin Scorseses Mafiadrama Casino zeigt die Mafia im schillernden Las Vegas der frühen Siebziger, welches hinter dem Vorhang der guten Laune von Geld. In der glanzvollsten Ära von Las Vegas steigt der Profizocker Sam `Ace' Rothstein an die Spitze des Milliarden-Dollar-Imperiums auf. Um das Investment weiter auszubauen, stellen ihm die Drahtzieher seinen besten Freund aus alten Zeiten, den. Über Filme auf DVD bei Thalia ✓»Casino«und weitere DVD Filme jetzt online bestellen!

Casino Scorsese Impostazioni dei sottotitoli Video

Casino (1995) - Ending

Höchstes Blatt Beim Poker hier taucht der erste Casino Scorsese auf, Gratis Wetten spielt eine Rolle bei der Entscheidung. - Weitere Formate

Das Geld wird gefressen von den slot machines, den einarmigen Banditen, die hier an jeder Hotelecke stehen. CASINO By Nicholas Pileggi EXT. RESTAURANT PARKING LOT, LAS VEGAS, - DAY SAM 'ACE' ROTHSTEIN, a tall, lean, immaculately dressed man approaches his car, opens the door, and g. Casino () Martin Scorsese loves to play with concepts of realism and genuineness in his films. His film Casino, featuring the great Robert De Niro, has been shot at Riveria Casino in Las Vegas. The movie instantly became a top favourite among gambling enthusiasts as it popularised the casino and the glamorous Las Vegas lifestyle. LAS VEGAS (KTNV) — Sunday marked the 25th anniversary of the release of Martin Scorsese's mob classic film "Casino," set in earlys Las Vegas. Did you know our very own Dave Courvoisier had an. Casino is a American epic crime film directed by Martin Scorsese, produced by Barbara De Fina and distributed by Universal Pictures. The film is based on the nonfiction book Casino: Love and Honor in Las Vegas by Nicholas Pileggi, who also co-wrote the screenplay for the film with Scorsese. (JTA) — “Casino,” Martin Scorsese’s examination of the mob’s control of Las Vegas in the s and 70s, debuted in theaters on Nov. 22, — 25 years ago this past week. It may be a tick below. Box Office Mojo. Traditional dramatic devices were substituted for a trance-like meditation achieved through an elaborate tableau of colorful visual images. Archived from the original on May 14, Eccezzionale De Niro e la migliore interpretazione di Sharon Stone. Filme von Martin Scorsese. Alternate Versions. Joe Pesci. Robert Richardson. Scorsese has cited Sabu and Victor Mature as his favorite actors during his youth. Archived from the original on Las Vegas Entstehung 27, Ginger approaches Nicky to get her valuables from Sam's safe deposit box, and the Kostenlose Online Spiele Kinder start an affair. C'est bien a quelque touche, mais a un moment, ca me sortait un peux du film.
Casino Scorsese

Das Unternehmen hat seinen Hauptsitz in Casino Scorsese in Гsterreich. - Wird oft zusammen gekauft

Sharon Stone hat ein wunderbares Overacting, stark!
Casino Scorsese Scorsese had been at the forefront in film preservation Eurojackpot Lotto24 restoration ever sincewhen he created The Film Foundation Abrechnung über O2, a non-profit film organization which collaborates with film studios to restore prints of old or damaged films. The Age of Innocence was Avatrade Konto Löschen significant departure for Scorsese, a period adaptation of the Edith Wharton novel about the constrictive high society of lateth century New York. Georges Delerue.

Puis les perssonage aussi. Tout le monde est hallucinant ici, notamment De Niro et Sharon Stone. Toujours aussi dingue ce mec, mais tellement brillant.

Mais a un moment je me suis dit qu'on aurai a faire qu'a une voix off tout le long du film comme si je lisait un livre. C'est bien a quelque touche, mais a un moment, ca me sortait un peux du film.

Autrement, du grand art. Bref un chef d'oeuvre encore , a mettre au tableau du grand Martin. Chef d'oeuvre :. Chef d'oeuvre.

Scorsese has cited Sabu and Victor Mature as his favorite actors during his youth. He has also spoken of the influence of the —48 Powell and Pressburger films Black Narcissus and The Red Shoes , whose innovative techniques later impacted his filmmaking.

Scorsese also developed an admiration for neorealist cinema at this time. His most famous short of the period is the darkly comic The Big Shave , which features Peter Bernuth.

The film is an indictment of America's involvement in Vietnam , suggested by its alternative title Viet ' In , Scorsese made his first feature-length film, the black and white I Call First , which was later retitled Who's That Knocking at My Door , with his fellow students actor Harvey Keitel and editor Thelma Schoonmaker , both of whom were to become long-term collaborators.

This film was intended to be the first of Scorsese's semi-autobiographical J. Trilogy, which would have included a later film, Mean Streets.

Film critic Roger Ebert saw the film at the Chicago International Film Festival and in his review praised Scorsese and the film writing, "I Call First" brings these two kinds of films together into a work that is absolutely genuine, artistically satisfying and technically comparable to the best films being made anywhere.

I have no reservations in describing it as a great moment in American movies. Following the film's release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else's projects.

By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale though the majority of Mean Streets was shot in Los Angeles , rapid-fire editing and a soundtrack with contemporary music.

Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller and early Jean-Luc Godard.

Although well regarded, the film remains an anomaly in the director's early career as it focuses on a central female character.

Returning to Little Italy to explore his ethnic roots, Scorsese next came up with Italianamerican , a documentary featuring his parents Charles and Catherine Scorsese.

Taxi Driver followed in —Scorsese's dark, urban nightmare of one lonely man's gradual descent into insanity. The film established him as an accomplished filmmaker and also brought attention to cinematographer Michael Chapman , whose style tends towards high contrasts, strong colors, and complex camera movements.

The film starred Robert De Niro as the troubled and psychotic Travis Bickle , and co-starred Jodie Foster in a highly controversial role as an underage prostitute, with Harvey Keitel as her pimp.

Taxi Driver also marked the start of a series of collaborations between Scorsese and writer Paul Schrader , whose influences included the diary of would-be assassin Arthur Bremer and Pickpocket , a film by the French director Robert Bresson.

He subsequently blamed his act on his obsession with Jodie Foster's Taxi Driver character in the film, De Niro's character, Travis Bickle, makes an assassination attempt on a senator.

The critical and financial success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical New York, New York.

This tribute to Scorsese's home town and the classic Hollywood musical was a box-office failure. The film is best remembered today for the title theme song, which was popularized by Frank Sinatra.

Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison with his earlier work.

Despite its weak reception, the film is regarded positively by some critics. Richard Brody in The New Yorker wrote:.

For Scorsese, a lifelong cinephile, the essence of New York could be found in its depiction in classic Hollywood movies. Remarkably, his backward-looking tribute to the golden age of musicals and noirish romantic melodramas turned out to be one of his most freewheeling and personal films.

By this stage the director had developed a serious cocaine addiction. However, he did find the creative drive to make the highly regarded The Last Waltz , documenting the final concert by The Band.

However, Scorsese's commitments to other projects delayed the release of the film until Another Scorsese-directed documentary, titled American Boy , also appeared in , focusing on Steven Prince, the cocky gun salesman who appeared in Taxi Driver.

A period of wild partying followed, damaging the director's already fragile health. Scorsese helped provide footage for the documentary Elvis on Tour.

By several accounts Scorsese's included , Robert De Niro saved Scorsese's life when he persuaded him to kick his cocaine addiction to make his highly regarded film Raging Bull.

He Scorsese was more than mildly depressed. Drug abuse, and abuse of his body in general, culminated in a terrifying episode of internal bleeding.

Robert De Niro came to see him in the hospital and asked, in so many words, whether he wanted to live or die. If you want to live, De Niro proposed, let's make this picture—referring to Raging Bull , an as-told-to book by Jake La Motta , the former world middleweight boxing champion, that De Niro had given him to read years earlier.

Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake LaMotta, calling it a kamikaze method of film-making.

From this work onwards, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material.

Raging Bull , filmed in high contrast black and white, is where Scorsese's style reached its zenith: Taxi Driver and New York, New York had used elements of expressionism to replicate psychological points of view, but here the style was taken to new extremes, employing extensive slow-motion, complex tracking shots, and extravagant distortion of perspective for example, the size of boxing rings would change from fight to fight.

Although the screenplay for Raging Bull was credited to Paul Schrader and Mardik Martin who earlier co-wrote Mean Streets , the finished script differed extensively from Schrader's original draft.

The final draft was largely written by Scorsese and Robert De Niro. It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act kidnapping.

Visually, it was far less kinetic than the style Scorsese had developed previously, often using a static camera and long takes.

It still bore many of Scorsese's trademarks, however. The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the years since its release.

German director Wim Wenders numbered it among his 15 favorite films. This led to a more significant acting appearance in Bertrand Tavernier 's jazz film Round Midnight.

He also made a brief venture into television, directing an episode of Steven Spielberg 's Amazing Stories. With After Hours , Scorsese made an esthetic shift back to a pared-down, almost "underground" film-making style.

Filmed on an extremely low budget, on location, and at night in the SoHo neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor Griffin Dunne and features cameos by such disparate actors as Teri Garr and Cheech and Chong.

Although adhering to Scorsese's established style, The Color of Money was the director's first official foray into mainstream film-making. The film finally won actor Paul Newman an Oscar and gave Scorsese the clout to finally secure backing for a project that had been a longtime goal for him: The Last Temptation of Christ.

In , Scorsese began work on this long-cherished personal project. The Last Temptation of Christ , based on the novel written by Nikos Kazantzakis , retold the life of Christ in human rather than divine terms.

Barbara Hershey recalls introducing Scorsese to the book while they were filming Boxcar Bertha. In the version, these roles were played by Willem Dafoe and David Bowie respectively.

However, following his mids flirtation with commercial Hollywood, Scorsese made a major return to personal filmmaking with the project, which was ultimately released in Even prior to its release, the film adapted by Taxi Driver and Raging Bull veteran Paul Schrader caused a massive furor, with worldwide protests against its perceived blasphemy effectively turning a low-budget independent film into a media sensation.

In , Scorsese directed the 18 minute short film Bad featuring Michael Jackson and Wesley Snipes in his film debut. The short also serves as a music video and was shot in the Hoyt—Schermerhorn Streets station in Brooklyn over a 6-week period during November and December The short film's cinematographer was frequent Scorsese collaborator Michael Chapman.

The dancing and filmmaking was heavily influenced by the film West Side Story. Scorsese also noted the influence of his own film Taxi Driver in Spike Lee 's documentary about the 25th anniversary of the short titled, Bad 25 Looking past the controversy, The Last Temptation of Christ gained critical acclaim and remains an important work in Scorsese's canon: an explicit attempt to wrestle with the spirituality underpinning his films up until that point.

The director went on to receive his second nomination for a Best Director Academy Award again unsuccessfully, this time losing to Barry Levinson for Rain Man.

As a separate film project, and along with directors Woody Allen and Francis Ford Coppola in , Scorsese provided one of three segments in the portmanteau film New York Stories , called "Life Lessons".

Roger Ebert 's gave the film a mixed review, while praising Scorsese's short as "really successful". After a decade of films considered by critics to be mixed results, some considered Scorsese's gangster epic Goodfellas his return to directorial form, and his most confident and fully realized film since Raging Bull.

De Niro and Joe Pesci offered a virtuoso display of Scorsese's bravura cinematic technique in the film and re-established, enhanced, and consolidated his reputation.

After the film was released, Roger Ebert , a friend and supporter of Scorsese, named Goodfellas "the best mob movie ever". It is ranked No.

On the updated version, they moved Goodfellas up to No. In , he released his only short-form documentary: Made in Milan about fashion designer Giorgio Armani.

The following year brought Cape Fear , a remake of a cult movie of the same name and the director's seventh collaboration with De Niro. Another foray into the mainstream, the film was a stylized thriller taking its cues heavily from Alfred Hitchcock and Charles Laughton 's The Night of the Hunter Cape Fear received a mixed critical reception and was lambasted in many quarters for its scenes depicting misogynistic violence.

However, the lurid subject matter gave Scorsese a chance to experiment with visual tricks and effects. The film garnered two Oscar nominations.

The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2. Scorsese's cameo appearance in the Robert Redford film Quiz Show is remembered for the telling line: "You see, the audience didn't tune in to watch some amazing display of intellectual ability.

They just wanted to watch the money. The Age of Innocence was a significant departure for Scorsese, a period adaptation of the Edith Wharton novel about the constrictive high society of lateth century New York.

It was highly lauded by critics upon its original release but was a box office bomb , making an overall loss.

As noted in Scorsese on Scorsese by editor—interviewer Ian Christie, the news that Scorsese wanted to make a film about a failed 19th-century romance raised many eyebrows among the film fraternity; all the more when Scorsese made it clear that it was a personal project and not a studio for-hire job.

Scorsese was interested in doing a "romantic piece", and he was strongly drawn to the characters and the story of Wharton's text.

Scorsese wanted his film to be as rich an emotional experience as the book was to him rather than the traditional academic adaptations of literary works.

To this end, Scorsese sought influence from diverse period films that had had an emotional impact on him.

Although The Age of Innocence was ultimately different from these films in terms of narrative, story, and thematic concern, the presence of a lost society, of lost values as well as detailed re-creations of social customs and rituals continues the tradition of these films.

It came back into the public eye, especially in countries such as the UK and France, but still is largely neglected in North America.

This was Scorsese's first film to be shot on Super 35 format. Casino , like The Age of Innocence before it, focused on a tightly wound male whose well-ordered life is disrupted by the arrival of unpredictable forces.

The fact that it was a violent gangster film made it more palatable to the director's fans who perhaps were baffled by the apparent departure of the earlier film.

Casino was a box office success, [70] and it received generally positive notices from critics. Comparisons were drawn to his earlier film Goodfellas , and Scorsese admitted Casino bore a superficial resemblance to it, but he maintained that the story was significantly larger in scope.

During the filming, Scorsese played a background part as a gambler at one of the tables. Scorsese still found time for a four-hour documentary in , titled A Personal Journey with Martin Scorsese Through American Movies , offering a thorough trek through American cinema.

It covered the silent era to , a year after which Scorsese began his feature career. He said, "I wouldn't feel right commenting on myself or my contemporaries.

Griffith or F. Murnau, who created new editing techniques among other innovations that made the appearance of sound and color possible later on; 3 the director as a smuggler—filmmakers such as Douglas Sirk , Samuel Fuller, and Vincente Minnelli , who used to hide subversive messages in their films; and 4 the director as iconoclast.

In the preface to this documentary, Scorsese states his commitment to the "Director's Dilemma", in which a successful contemporary director must be pragmatic about the realities of getting financing for films of personal esthetic interest by accepting the need of "making one film for the studio, and then making one for oneself.

If The Age of Innocence alienated and confused some fans, then Kundun went several steps further, offering an account of the early life of Tenzin Gyatso, the 14th Dalai Lama , the People's Liberation Army 's entry into Tibet , and the Dalai Lama's subsequent exile to India.

Not only a departure in subject matter, Kundun saw Scorsese employing a fresh narrative and visual approach. Traditional dramatic devices were substituted for a trance-like meditation achieved through an elaborate tableau of colorful visual images.

Initially defiant in the face of pressure from Chinese officials, Disney has since distanced itself from the project, hurting Kundun ' s commercial profile.

In the short term, the sheer eclecticism in evidence enhanced the director's reputation. In the long term, however, it appears Kundun has been sidelined in most critical appraisals of the director, mostly noted as a stylistic and thematic detour.

Kundun was the Scorsese's second attempt to profile the life of a great religious leader, following The Last Temptation of Christ.

Bringing Out the Dead was a return to familiar territory, with the director and writer Paul Schrader constructing a pitch-black comic take on their own earlier Taxi Driver.

It received generally positive reviews, [75] although not the universal critical acclaim of some of his other films. On various occasions Scorsese has been asked to present the Honorary Academy Award during the Oscar telecast.

Sam 'Ace' Rothstein Sharon Stone Ginger McKenna Joe Pesci Nicky Santoro James Woods Lester Diamond Don Rickles Billy Sherbert Alan King Andy Stone Kevin Pollak Phillip Green L.

Pat Webb Dick Smothers Senator Frank Vincent Frank Marino John Bloom Don Ward Pasquale Cajano Remo Gaggi Melissa Prophet Jennifer Santoro Bill Allison John Nance Vinny Vella Edit Storyline This Martin Scorsese film depicts the Janus-like quality of Las Vegas--it has a glittering, glamorous face, as well as a brutal, cruel one.

Edit Did You Know? Trivia As this was to be director of photography Robert Richardson 's first collaboration with Martin Scorsese , Scorsese suggested that they watch a series of movies from his private collection.

He was hoping to convey to his new director of photography the general "look" he was eager to capture for this movie. Dessen gleichnamiges Buch diente als Vorlage.

Um Schwierigkeiten mit den Behörden wegen seiner Vorstrafen aus dem Weg zu gehen, soll er nur eine Lizenz als Restaurantmanager beantragen. Als Strohmann wird der behördlicherseits nicht vorbelastete Philip Green als offizieller Kasinomanager eingesetzt, der alles abzeichnet, was ihm vorgelegt wird.

Aufgrund seiner langjährigen Erfahrung als Glücksspieler und Buchmacher und durch einen perfektionistischen Führungsstil gelingt es Ace, den Umsatz des Tangiers zu verdoppeln, und das Haus erlebt einen Boom.

Nicky hat aber nicht vor, nur den Beschützer für Ace zu spielen, zumal er an den Einnahmen aus der Abschöpfung der Kasinos nicht beteiligt wird.

Da sich Nickys Bande an keine Regeln hält — er selbst spielt ganz offen falsch in den Kasinos —, wird er bald im Black Book eingetragen und damit mit einem generellen Zutrittsverbot für alle Kasinos in Las Vegas belegt.

Der heruntergekommene Junkie wendet sich in seiner ständigen Geldnot wiederholt an Ginger. Vom Leben in Reichtum, Untätigkeit und Luxus gelangweilt, wird Ginger immer unzufriedener und unglücklicher, verfällt Alkohol und anderen Drogen , vernachlässigt die gemeinsame Tochter und geht mit Nicky eine Affäre ein.

Nicky willigt ein, ihr neuer Beschützer zu werden. Several edits were made in order to reduce the rating to R. Casino was released in theaters in the United States on November 22, Upon its release, the film received mostly positive reviews from critics, although their praise was more muted than it had been for the thematically similar Goodfellas , released only five years earlier, with some reviewers criticizing Scorsese for retreading familiar territory.

The site's critical consensus reads, "Impressive ambition and bravura performances from an outstanding cast help Casino pay off in spite of a familiar narrative that may strike some viewers as a safe bet for director Martin Scorsese.

Roger Ebert gave the film four out of four, stating that "Martin Scorsese's fascinating new film Casino knows a lot about the Mafia's relationship with Las Vegas.

Like The Godfather it makes us feel like eavesdroppers in a secret place. He gave the film five stars commenting "It may not be Scorsese's greatest work, but this guy feeling a little off-colour is still far, far better than most people on fighting-fit form.

It only gets more impressive as time goes on. The film's critical profile has increased in years after its release, with several critics expressing that, in retrospect, they feel it is a more accomplished and artistically mature work than the thematically similar Goodfellas.

From Wikipedia, the free encyclopedia. For the film, see The Casino film. Theatrical release poster. Nicholas Pileggi Martin Scorsese.

Syalis D. Release date. Running time. Archived from the original on January 11, Retrieved February 21, Archived from the original on April 30, Box Office Mojo.

January 19,

Und die Musik erst,ein Wahnsinn. Wie werden Bewertungen berechnet? Es wird in Chips getauscht und dann beim Roulette verloren.
Casino Scorsese In der glanzvollsten Ära von Las Vegas steigt der Profizocker Sam `Ace' Rothstein an die Spitze des Milliarden-Dollar-Imperiums auf. Um das Investment weiter auszubauen, stellen ihm die Drahtzieher seinen besten Freund aus alten Zeiten, den. Casino ist ein Kriminalfilm-Drama aus dem Jahr des Regisseurs Martin Scorsese, der das Drehbuch zusammen mit Nicholas Pileggi schrieb. Dessen. Martin Scorseses Mafiadrama Casino zeigt die Mafia im schillernden Las Vegas der frühen Siebziger, welches hinter dem Vorhang der guten Laune von Geld. Über Filme auf DVD bei Thalia ✓»Casino«und weitere DVD Filme jetzt online bestellen!
Casino Scorsese A Casino ös bűnügyi film, amelyet Martin Scorsese rendezett. A fő szerepekben Robert De Niro, Sharon Stone és Joe Pesci láthatók. A film Nicholas Pileggi "Casino: Love and Honor in Las Vegas" című regényén alapszik. Ez a Robert de Niro és Martin Scorsese közötti együttműködés nyolcadik filmje. Megtörtént eseményeken mtngetaway.comókönyvíró: Nicholas Pileggi, Martin Scorsese. Casinò (Casino) - Un film di Martin Scorsese. Con Robert De Niro, Sharon Stone, Joe Pesci, James Woods, Frank Vincent, Pasquale Cajano. Drammatico, USA, Durata min/5(). Nicholas Pileggi: Casino. Droemer Knaur, , ISBN Nicholas Pileggi, Martin Scorsese: Casino. Faber and Faber, , ISBN (engl. Ausgabe) Dana Poppenberg/Gerhard Poppenberg: Martin Scorsese. Einführung in seine Filme und Filmästhetik. Paderborn S. – WeblinksOriginalsprache: Englisch.

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