The entire trade is basically smoke and mirrors. He is explaining that the real art in being a successful broker is pretending to know what one is talking about. Hanna is Jordan's mentor, and the man who is more honest about the realities of being a stockbroker than anyone else has ever been before. Nobody - and I don't care if you're Warren Buffet or Jimmy Buffet - nobody knows if a stock's going up, down or f****ng sideways, least of all stockbrokers, but we have to pretend we know. There is nothing good about being poor being rich makes life easier, even if it doesn't change the personality or the day to day actions of the person enjoying it. He speaks as an expert on the subject having enjoyed riches and suffered through poverty. From Jordan's perspective, poverty did not make him a better person, or build his character in fact, if anything, it was to his character's detriment. Jordan Belfort would be inclined to agree with her. Oprah Winfrey once said that money didn't buy happiness but it made being miserable easier. I've been a rich man and I've been a poor man. We are thankful for their contributions and encourage you to make your own. De Boer,… twitter.These notes were contributed by members of the GradeSaver community. RT TheExtremeMusi1: Gibboanxious "Welles almost creates a mise en abyme throughout Citizen Kane, inviting but ultimately refuting the ten… 90sfootball Top Row: Van der Sar, Blind, Van Vossen, Seedorf, Rijkaardīottom Row: Litmanen, Rieziger, R. RT calumbkr: Look! There in the sky! It's the So Long, Suckers episode on the extended version of The Tree of Life! RT WTA: 🇬🇧 EmmaRaducanu's entire #USOpen run ⤵️ Less famous than Tokyo Story, we think better RT MidCentur圜inem: 10/3/51: Yasujirô Ozu's Early Summer, w/Setsuko Hara & Chishû Ryû. It’s all hugely enjoyable, it’s one of the great Hollywood critiques of capitalism, and an unqualified triumph for Scorsese and an electric Leonardo DiCaprio in the title role. It’s evidence of a filmmaker at the top of his game – the story never lets up at any point, the necessary relentless correlative of narcotic mania from filmmaker to character is sustained the whole way through, and Scorsese is ever inventive (we get the familiar ‘ironic’ narration, there’s plenty of shifts in chronology, some of the scenes are filmed in quasi-screwball, comic style, and there are lots of devices like films-within-films and infomercials merging with the actual storyline).
#THE WOLF OF WALL STREET (2013) PRO#
It almost felt like a blast of old Scorsese, not the establishment pro who has turned in brilliant (if increasingly, workmanlike) pictures in recent years, but the man who almost had copyright on that genre of rich, dense, characterful ‘corruption’ epics that he gave life to some 20 years before with the likes of GoodFellas and Casino.
Of course, it helps that the film in question is just plain brilliant. And finally, the film is art, a good few removes from reality in its characterisation of Belfort and his ethos as one-long nutty, vacuous, chemically-fuelled surge of excess – that’s the only obligation Scorsese has, to commit to the telling of that story.
It would be a far worse film tonally and dramatically if Scorsese watered down the excesses of Belfort’s lifestyle and practices (and the verve with which he depicts that), by putting in inorganic, morally equivalent references to “victims” of Belfort’s economics. He’s not rubbing our faces in the obvious moral to the story (although there is one closing sequence where Belfort’s prosecuting cop has a quietly victorious subway ride), as he’d be justified in hoping his audience has the intelligence to apply the subtext anyway. That reading has two fundamental flaws: first, it confuses mere dramatisation with subjectivity (in this case, condoning), and in many respects, the film reveals just how seasoned and respectful a storyteller Scorsese is. The film has generated many column inches from what are, in my opinion, misappropriated criticisms whereby Scorsese is somehow accused of condoning Jordan Belfort’s grotesque, hedonistic form of capitalism. Review: The Wolf of Wall Street is a quite staggering piece of relentless, indefatigable cinematic invention, and is testament to the sheer energy (as well as the more cerebral qualities) of Martin Scorsese and Leonard DiCaprio as storytellers. Synopsis: Stockbroker Jordan Belfort (Leonard DiCaprio) builds up an estimable fortune in the eighties and nineties, but the hedonism and loose morals of his ways threatens to catch up with him… Actors: Leonardo DiCaprio, Jonah Hill, Margot Robbie
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