Casino. FSK 16 Minuten | USA Dreistündige Meisterwerk über Aufstieg und Fall der Mafia in Las Vegas von Meisterregisseur Martin Scorsese. 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. Halbweltepos von Martin Scorsese über den Aufstieg und Fall eines Casinomanagers. Anfang der 70er-Jahre leitet Sam Rothstein (Robert De Niro) für die.
total klassischSam "Ace" Rothstein sorgt dafür, daß in den Casinos von Las Vegas alles gut die Hauptrollen in einem Film spielen, MARTIN SCORSESE die Regie führt. Halbweltepos von Martin Scorsese über den Aufstieg und Fall eines Casinomanagers. Anfang der 70er-Jahre leitet Sam Rothstein (Robert De Niro) für die. Casino. FSK 16 Minuten | USA Dreistündige Meisterwerk über Aufstieg und Fall der Mafia in Las Vegas von Meisterregisseur Martin Scorsese.
Casino Scorsese Navigation menu VideoThe Beauty Of Casino
Scorsese is also known for his long-time collaboration with film editor Thelma Schoonmaker , who has edited every Scorsese film beginning with Raging Bull.
Scorsese's other film work includes the black comedy After Hours , the romantic drama The Age of Innocence , the children's adventure drama Hugo , and the religious epics The Last Temptation of Christ , Kundun and Silence With nine nominations for the Academy Award for Best Director , Scorsese is the most-nominated living director and is second only to William Wyler 's twelve nominations overall.
Kennedy Center for the Performing Arts for his influence in American culture. Scorsese is also known for his work in television, including directing the pilot episodes of the HBO series Boardwalk Empire and Vinyl , the latter he also co-created.
Charles was a clothes presser and an actor while Catherine was a seamstress and an actress. As a boy, he had asthma and could not play sports or take part in any activities with other children, so his parents and his older brother would often take him to movie theaters; it was at this stage in his life that he developed a passion for cinema.
As a teenager in the Bronx, Scorsese frequently rented Powell and Pressburger 's The Tales of Hoffmann from a store that had one copy of the reel.
Scorsese was one of only two people who regularly rented it; the other was future film director George A. 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,  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,  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. When accepting the award Donen quipped, "Marty this is backwards, I should be giving this to you, believe me".
This would be a controversial pick for the Academy due to Kazan's past history regarding his involvement with the Hollywood Blacklist in the s. Like The Age of Innocence , it was set in 19th-century New York, although focusing on the other end of the social scale and like that film, also starring Daniel Day-Lewis.
The film marked the first collaboration between Scorsese and actor Leonardo DiCaprio , who became a fixture in later Scorsese films.
The production was highly troubled, with many rumors referring to the director's conflict with Miramax boss Harvey Weinstein. The final cut of the movie ran to minutes, while the director's original cut was over minutes long.
Originally filmed for a release in the winter of to qualify for Academy Award nominations , Scorsese delayed the final production of the film until after the beginning of ; the studio consequently delayed the film until its release in the Oscar season of late The following year, Scorsese completed production of The Blues , an expansive seven-part documentary tracing the history of blues music from its African roots to the Mississippi Delta and beyond.
At that time, he established Sikelia Productions. Scorsese's film The Aviator is a lavish, large-scale biopic of eccentric aviation pioneer and film mogul Howard Hughes and reunited Scorsese with actor Leonardo DiCaprio.
The film received highly positive reviews. In January The Aviator became the most-nominated film of the 77th Academy Awards nominations, nominated in 11 categories including Best Picture.
The film also garnered nominations in nearly all the other major categories, including a fifth Best Director nomination for Scorsese.
Despite having the most nominations, the film won only five Oscars. No Direction Home is a documentary film by Scorsese that tells of the life of Bob Dylan, and his impact on American popular music and the culture of the 20th century.
The film does not cover Dylan's entire career; it focuses on his beginnings, his rise to fame in the s, his then- controversial transformation from an acoustic guitar-based musician and performer to an electric guitar-influenced sound and his "retirement" from touring in following an infamous motorcycle accident.
A DVD version of the film was released the same month. In addition, Scorsese received an Emmy nomination for it. The Departed opened to widespread critical acclaim, with some proclaiming it as one of the best efforts Scorsese had brought to the screen since 's Goodfellas ,   and still others putting it at the same level as Scorsese's most celebrated classics Taxi Driver and Raging Bull.
Presented with the latter, Scorsese poked fun at his track record of nominations, asking, "Could you double-check the envelope? Casino Bande-annonce 3 VF.
Casino Bande-annonce 4 VF. Interview, making-of et extrait. Acteurs et actrices. Robert De Niro. Sharon Stone. Joe Pesci. Don Rickles. Critique Presse.
Critiques Spectateurs. Lire plus. Sam meets and falls in love with beautiful hustler , dancer, and former prostitute Ginger McKenna. They have a daughter and marry, but their marriage is quickly thrown into turmoil due to Ginger's relationship with her former boyfriend, con artist -turned- pimp Lester Diamond.
Ginger turns to alcohol and develops an increasingly problematic drug addiction. In , Sam fires slot manager Don Ward for incompetence.
When Ward's brother-in-law, Clark County Commission chairman Pat Webb, fails to convince Sam to rehire Don, Webb arranges for Sam's gaming license to be denied, jeopardizing his position.
Sam blames Nicky's recklessness for ongoing police and Nevada Gaming Board pressure, and the two argue furiously in the Mojave desert.
Sam starts hosting a local television talk show, upsetting both Nicky and the Chicago bosses for making himself such a public figure and bringing unwanted attention to their operations.
Piscano writes everything he knows about the operations in a notebook. Sam seeks to divorce Ginger, who kidnaps their daughter, planning to flee to Europe with her and Lester.
Sam convinces Ginger to return with Amy, then overhears her planning on the phone to kill him. Sam kicks her out of their home but later relents.
Ginger approaches Nicky to get her valuables from Sam's safe deposit box, and the two start an affair. Sam confronts and disowns Ginger, and ends his friendship with Nicky.
Nicky throws Ginger out when she demands he kill Sam. Drunk and furious, Ginger crashes her car into Sam's on the driveway and retrieves the key to their deposit box.
She takes the contents of the box but is arrested by the FBI as a witness. In , the FBI closes the casino and Green eventually cooperates with them.
Piscano dies of a heart attack when federal agents discover his notebook. The bosses are arrested and put on trial, and start to arrange the murders of anyone who might testify against them and prolong their subsequent sentences.
Ginger dies of a drug overdose, and Sam barely escapes death by a car bomb , suspecting Nicky to be the culprit. Before Sam can take revenge, the bosses, angered by Nicky's legal issues and apparent unauthorized attempt on Sam's life, order Frankie and his crew to ambush Nicky and Dominick.
Under the impression that they are attending a meetup in an Indiana cornfield, they are beaten with baseball bats, covered in quicklime , and buried alive in a shallow grave.
With the mob now out of licensing fronts, big corporations buy and demolish the casinos to make way for new, larger hotel casinos, which Sam laments.
He retires to San Diego and lives as a sports handicapper, ending up in his own words, "right back where I started". The research for Casino began when news reporter and screenwriter Nicholas Pileggi read a report from the Las Vegas Sun about a domestic argument between Frank "Lefty" Rosenthal , a casino figure, and his wife Geri McGee , a former topless dancer.
Argent was owned by Allen Glick, but the casino was believed to be controlled by various organized crime families from the Midwest.
Aber auch das Tangiers und Ace geraten unter Druck, weil Ace sich mit den Behörden anlegt, als er einem offensichtlich unfähigen Mitarbeiter fristlos kündigt, der seinen Job nur bekommen hatte, weil er der Schwager des Lokalpolitikers Pat Webb — county commissioner von Clark County — ist.
Dieser sucht Ace persönlich auf, um ihn zu überreden, den Mann wieder einzustellen. Aber Ace lehnt kategorisch ab. Webb verlässt den Raum mit der Drohung, Ace sei hier nicht zu Hause.
Als nun herauskommt, dass Ace bislang lediglich einen Antrag auf eine Lizenz gestellt hatte, über den noch nicht entschieden wurde, drängt Webb auf eine schnelle Anhörung, bei welcher der Antrag von Ace abgelehnt wird, ohne dass Ace selbst angehört wird.
Mittlerweile hat sich auch der allgemeine Verfolgungsdruck der Behörden auf das Umfeld der leitenden Mafiafamilie erhöht und das FBI hat mit umfangreichen Abhöraktionen begonnen.
Aus der Untersuchungshaft heraus ordnen sie Auftragsmorde an. Die Bosse haben ohnehin nun von dessen Eskapaden genug und lassen ihn und seinen Bruder mit Baseballschlägern in einem Maisfeld brutal zusammenschlagen und bei lebendigem Leibe begraben.
Das Tangiers wird — wie viele andere Kasinos — abgerissen. Ace verlässt Las Vegas und verbringt sein restliches Leben zurückgezogen mit seiner Tochter als erfolgreicher Buchmacher.
Die hinter virtuosen filmischen Einfällen verborgene unmelodramatische Genauigkeit dieses Porträts verweigert sich rein emotionalem Zugang und macht den Film für das Publikum schwerer konsumierbar.