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A Personal Journey With Martin Scorsese Through American Movies (3 Discs) [DVD]
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Legendary filmmaker Martin Scorsese shares his personal view and knowledge of the films, directors and actors that have shaped the world’s most popular art form.
Aspect Ratio : 1.33:1
Is Discontinued By Manufacturer : No
MPAA rating : NR (Not Rated)
Product Dimensions : 7.5 x 5.5 x 0.5 inches; 3.5 ounces
Item model number : aniplex test
Director : Martin Scorsese, Michael Henry Wilson
Media Format : Color, DVD, Full Screen, NTSC, Black & White
Run time : 3 hours and 46 minutes
Release date : January 30, 2012
Actors : Martin Scorsese (narrator)
Producers : Florence Dauman
Language : English (Dolby Digital 2.0 Stereo)
Studio : LIONSGATE
ASIN : 6305941122
Writers : Martin Scorsese, Michael Henry Wilson
Number of discs : 3
10 reviews for A Personal Journey With Martin Scorsese Through American Movies (3 Discs) [DVD]
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Y.P. –
Films mentioned in this documenary
This documentary of 225 minutes in length is presented by Martin Scorsese and produced by the British Film Institute. It was originally shown in three parts on Channel 4 in the UK in 1995, and the DVD preserves the 3 part structure.Part I *The director’s dilemma *The director as storyteller **The Western **The Gangster film **The MusicalPart II *The director as illusionist *The director as smuggler IPart III *The director as smuggler II *The director as iconoclastIt is not as successful as its sequel My Voyage to Italy, in my opinion, mainly because Scorsese tries to cover too much ground and in the process most films only get very short exposure (1-3 minutes) instead of 5-10 minutes in Voyage. Naturally, the list is much longer. However, this is still very much worth watching and Scorsese’s love of these old films are palpable. (A personal account by a master is always an exceptional experience!) As in its sequel My Voyage to Italy, with few notable exceptions the list stops at 1960s when Scorsese started his own film making. (“I wouldn’t be able to do justice to my contemporaries….”)Without much ado, here is the list.N.B. Films followed by parenthesis with the year of release indicate that multiple films share identical names.–Part I–The Bad and the Beautiful, 1952, directed by Vincente MinnelliDuel in the Sun, nicknamed “Lust in the Dust”, 1946 Western film directed by King Vidor, William Dieterle and othersThe Girl Can’t Help It, 1956 Musical film directed by Frank TashlinBigger Than Life, 1956 directed by Nicholas RayVertigo, 1958 psychological thriller film directed by Alfred HitchcockThe Naked Kiss, 1964 neo-noir film written and directed by Samuel FullerMurder by Contract, 1958 film noir directed by Irving LernerThe Red House, 1947 psychological thriller directed by Delmer DavesThe Phenix City Story, 1955 film noir directed by Phil KarlsonSullivan’s Travels, 1941 comedy film written and directed by Preston SturgesThe Crowd, 1928 silent film directed by King VidorThe Big Parade, 1925 silent film directed by King VidorShadow of a Doubt, 1943 thriller film directed by Alfred HitchcockMr. Smith Goes to Washington, 1939, directed by Frank CapraThe Great Train Robbery, 1903 Western film written, produced, and directed by Edwin S. PorterThe Musketeers of Pig Alley, 1912, directed by D. W. GriffithHigh Sierra, 1941, directed by Raoul WalshColorado Territory, 1949 western film directed by Raoul Walsh (a remake of the 1941 High Sierra)Stagecoach (1939), 1939 western film directed by John FordShe Wore a Yellow Ribbon, 1949 western film directed by John FordThe Searchers, 1956 western film directed by John FordThe Furies, 1950 American Western film directed by Anthony MannThe Naked Spur, 1953 American Western film directed by Anthony MannThe Tall T, 1957 Western film directed by Budd BoetticherThe Left Handed Gun, 1958 American western film and the film directorial debut of Arthur PennUnforgiven, 1992 American Western film produced and directed by Clint EastwoodChesty: A Tribute to a Legend, 1971 documentary directed by John FordThe Public Enemy, 1931 American Pre-Code crime film directed by William A. WellmanThe Regeneration, 1915, directed by Raoul WalshScarface (1932), 1932 American gangster film directed by Howard Hawks (and Richard Rosson)The Roaring Twenties, 1939 crime thriller directed by Raoul WalshI Walk Alone, 1948 film noir directed by Byron Haskin.Force of Evil, 1948 film noir directed by Abraham PolonskyPoint Blank, 1967 American crime film directed by John BoormanGold Diggers of 1935, 1935 musical film directed and choreographed by Busby BerkeleyGold Diggers of 1933, 1933 musical film directed by Mervyn LeRoy, staged and choreographed by Busby Berkeley42nd Street, 1933 musical film directed by Lloyd Bacon with choreography by Busby BerkeleyFootlight Parade, 1933 musical film directed by Lloyd Bacon with choreography by Busby BerkeleyMeet Me in St. Louis, 1944 musical film directed by Vincente MinnelliMy Dream Is Yours, 1949 musical and comedy film directed by Michael Curtiz *New York, New York, 1977 musical directed by Martin Scorsese (film mentioned in connection with My Dream Is Yours)The Band Wagon, 1953 musical film directed by Vincente MinnelliA Star Is Born (1954), 1954 musical film directed by George CukorAll That Jazz, 1979 musical film directed by Bob Fosse–Part II–The Cameraman, 1928 silent comedy directed by Edward SedgwickThe Birth of a Nation, 1915 silent film directed by D. W. GriffithDeath’s Marathon, 1913 silent film directed by D. W. GriffithCabiria, 1914 Italian silent film directed by Giovanni PastroneIntolerance, 1916 silent film directed by D. W. GriffithThe Ten Commandments (1923 film), 1923 silent film directed by Cecil B. DeMilleSamson and Delilah (1949), 1949, directed by Cecil B. DeMilleThe Ten Commandments (1956 film), 1956, directed by Cecil B. DeMilleSunrise: A Song of Two Humans, 1927 silent film directed by F. W. MurnauSeventh Heaven (1927), 1927 silent film directed by Frank BorzageAnna Christie (1930), 1930, directed by Clarence BrownHer Man, 1930, directed by Tay GarnettThe Big House (1930), 1930, directed by George W. HillLeave Her to Heaven, 1945 film noir directed by John M. StahlJohnny Guitar, 1954 Western film directed by Nicholas RayThe Robe, 1953 Biblical epic film directed by Henry KosterEast of Eden, 1955, directed by Elia KazanSome Came Running , 1958, directed by Vincente MinnelliLand of the Pharaohs, 1955, directed and produced by Howard HawksThe Fall of the Roman Empire, 1964, directed by Anthony MannThe Young Indiana Jones Chronicles, American television series from 4 March 1992 to 24 July 1993, created and executively produced by George Lucas, directed by Steven Spielberg2001: A Space Odyssey, 1968 science fiction film produced and directed by Stanley KubrickCat People, 1942 horror film directed by Jacques TourneurI Walked with a Zombie, 1943 horror film directed by Jacques TourneurLetter from an Unknown Woman (1948), 1948 film directed by Max Ophüls, based on the novella written by Stefan ZweigScarlet Street, 1945 American film noir directed by Fritz LangDetour (1945), 1945, directed by Edgar G. UlmerDouble Indemnity, 1944 film noir directed by Billy WilderCrime Wave (1954), 1954 film noir directed by André De TothOutrage (1950), 1950, directed by noted film noir actress and pioneering female director Ida LupinoGun Crazy, 1950 film noir directed by Joseph H. LewisT-Men, 1947 film noir directed by Anthony MannRaw Deal (1948), 1948 film noir directed by Anthony MannKiss Me Deadly, 1955 film noir directed by Robert Aldrich–Part III–Silver Lode, 1954, directed by Allan DwanAll That Heaven Allows, 1955, directed by Douglas SirkBigger Than Life, 1956, directed by Nicholas RayForty Guns, 1957 western film directed by Samuel FullerPickup on South Street, 1953 film noir directed by Samuel FullerShock Corridor, 1963, directed by Samuel FullerTwo Weeks in Another Town, 1962, directed by Vincente MinnelliBroken Blossoms, 1919 silent film directed by D. W. GriffithThe Wedding March (1928), 1928 silent film directed by Erich von StroheimI Am a Fugitive from a Chain Gang, 1932, directed by Mervyn LeRoyHell’s Highway (1932), 1932, directed by Rowland BrownWild Boys of the Road, 1933, directed by William WellmanHeroes for Sale, 1933, directed by William WellmanThe Scarlet Empress, 1934, directed and produced by Josef von SternbergCitizen Kane, 1941, directed by and starring Orson WellesThe Magnificent Ambersons, 1942, directed and written by Orson WellesA Streetcar Named Desire (1951), 1951, directed by Elia KazanOn the Waterfront, 1954, directed by Elia KazanApache, 1954, directed by Robert AldrichBlackboard Jungle, 1955, directed by Richard BrooksThe Wild One, 1953, Directed by László BenedekAdvise & Consent, 1962, directed by Otto PremingerPaths of Glory, 1967, directed by Stanley KubrickI Want to Live!, 1958 film noir directed by Robert WiseThe Man with the Golden Arm, 1955, directed by Otto PremingerSweet Smell of Success, 1957 film noir directed by Alexander MackendrickOne, Two, Three, 1961 comedy directed by Billy WilderBonnie and Clyde, 1967, directed by Arthur PennLolita (1962), 1962, directed by Stanley KubrickBarry Lyndon, 1975, directed by Stanley KubrickFaces, 1968, directed by John CassavetesAmerica America, 1963, directed by Elia KazanThe Grapes of Wrath, 1940, directed by John FordP.S. I also edited the wiki entry of this documentary, so you can also find the same list there.
Stacey Cochran –
A Love for Cinema
This may be the single-best tool you could ever study to understand how one great cinematic mind realized its vision. Scorsese is selfless; he shows us how his vision came to be. Most directors would rather us not see how their illusions are created; Scorsese’s purpose is the complete opposite.This set includes three video cassettes (75 minutes apiece). He begins by focusing on the American Western, an understandable starting place as the American Western is arguably the most indigenous genre Americans can lay claim to. The most enlightening section from this section was his analysis of three John Ford movies, starring John Wayne. Scorsese’s purpose was to show how the Western, along with Ford, grew more complex in three decades. As he says, “Same Director, Ford. Same star, John Wayne. Same setting, Monument Valley.” However the image of the black-and-white cowboy-and-Indian hero of “Stagecoach” is a contrast between Ford’s later “The Searchers,” where Wayne’s character Ethan Allen is “richer, more complex,” Scorsese says. He IS richer and more complex — a frightening hero. Scorsese’s point is made: that cinema is ever expanding, the pallete becoming ever more complex, that filmmakers grow themselves. The second half of tape-1 focuses on gangster films; Scorsese was in territory he loved here. His study of the gangster film’s development from “The Musketeers of Pig Alley” through Howard Hawkes’s “Scarface,” to Francis Ford Coppola’s “Godfather” epic is an education in the development of American cinema itself.The second tape is my favorite. Scorsese focuses on films you might not have heard of, but films that are achievements in American cinema: films that touched him. Jacque’s Tourneau’s “Cat People” (I think that’s the title) and “I Walked With A Zombie,” movies that are truly rich films but that have sadly been forgotten or dubbed ‘B’-class films, Scorsese says. And it’s true. These films created techniques and philosophies that changed American cinema — they enhanced and developed the techniques that are the “illusions” that we too often take for granted as being the modern movie. From watching this section I realized how a film like “Blair Witch” (whether you liked it or hated it) was influenced by guys working on shoe-string budgets (Tourneau) but with the love of cinema; in the case of Tourneau, of scaring the pants off an audience with a minimal budget. Likewise, it becomes clear to see how Film Noir was “a mood,” Scorsese says. And it was a mood. It was cool. It was indifferent. It was Pulp Fiction. There are comments by the legendary Billy Wilder on film noir, his “Double Indemnity” epitomizing the style. Wilder’s comments were insightful, and Wilder is a pleasure to see on camera. I love this guy. He’s like a blend of Yoda and Robin Williams.The second half focuses on the “Director as Smuggler” and this blends into the third tape’s “Director as Smuggler II.” Comments by Douglas Sirk, Nicholas Ray — eye-patch and all, insightful, insightful stuff. Ray says something that was kind a revelation to me. If you’re hero isn’t neurotic, or as neurotic as the audience, if he isn’t as [messed] up then how can an audience identify with him, you know? Paint the hero flawed — or at least as flawed as you and I — and that way when they do something great, when they do something heroic, we can identify and say, “Man, I could have done that.”The behind-the-scenes footage of Samuel Fuller was hilarious — tragic, in its own way — and yet funny. “Don’t wave the GD flag at me!” And Hoover objected, Fuller said. I loved this!There are comments by more contemporary “smugglers” George Lucas, Francis Coppola — on the digital age of American cinema. Coppola’s advice is to embrace the new technology. Lucas’s was less convincing, but not-without-point. “Why spend the money,” Lucas says, “To transport hundreds of extras, to feed them, to clothe them, when they can be reproduced digitally.” I listened to this skeptically — thinking of film’s like “Braveheart,” where the director (Gibson) did haul all those extras out there and shoot those scenes. And then I thought of “Gladiator” — Academy Awards or no — it was easy to see that many of the epic shots were digitally reproduced. And I realized movies such as “Braveheart,” “The Fall of the Roman Empire” (which Scorsese discusses) are sadly part of bygone era. It’s simply too expensive to make those kinds of movies without digital “smuggling.” So, I suppose Coppola’s words ring true — it’s wise to embrace the new technology.The final part of the third tape focuses on “The Iconoclast” — filmmaker’s who went at the system head-on. Here you’ll find more recognizable names and Scorsese’s discussions on how their films engaged him personally: DW Griffith, Charlie Chaplin, Orson Welles, Stanley Kubrick, John Cassevetas. I’ve watched the section on Kubrick’s “Barry Lyndon” several times just to realize exactly what Scorsese sees when he discusses individual scenes in the film. It’s really a trip to see these movies through his eyes, while he discusses them. There’s a discussion of “Citizen Kane” — naturally — not to be missed with comments by Orson Welles, years later, on what it was like to have that kind of personal freedom while making a movie; and what it’s like to have it taken away. Chaplin’s “The Great Dictator” is looked at — funny, funny stuff. And not without more profound implications, too.Bottom line: this is an excellent journey through Amerian cinema, through the eyes of one our most gifted artists. Scorsese, I hope, will be remembered for giving us a gift, his gift. He has done more to preserve film history — films, directors, and these directors’ personal visions of our world, all of which would otherwise be forgotten — Scorsese’s done more to preserve all of this than any other single human being. It is a selfless journey.
Ed –
Unhappy customer
This is a wonderful accounting of US cinema by one of the true masters. The problem is the program was missing one entire chapter. I don’t know how they could have missed this. I would be very cautious buying this DVD unless you get a chance to contact the seller and confirm the entire program is included. I tried to return this item but could not get the proper details until is was past the last date for returning it. I am very unhappy with this purchase although I highly recommend the program.
anon –
a good deal
repackaged by the discs are in fine condition.
Mad Dog –
The Best History Of American Cinema To Date.
Scorcese is one of the few directors who understands where he came from. More significantly, he can make us undertsand why this is important. “A Personal Jourey” is the most concise, insightful, intelligent and informed appraisal of American Cinema I have ever seen seen. And I learn more with every viewing.What Scorcese does, with an awareness that eludes most “professional” critics, is use himself as an example of the process: how did Scorcese get to where he is? He stood on the shoulders of giants. And with typical Scorcese modesty, he’s happy to give them all the credit.But best of all, not only is this about great film making — it IS great film making. This is great entertainment. Just make sure you have pen and paper handy so you can write down the names of the films he exerpts. I guarantee you’ll be renting and buying within hours of seeing this series.All three parts total about 220 minutes — a bargain at twice the price. But having seen it all four times by now, I wish it were longer.
Pocket Satire –
Marvellous introduction to American cinema. Scorsese has a great eye for when new techniques entered the scene and his illustrative examples are always spot-on. He shows many clips from films that won’t be familiar to most viewers. Scorsese’s enthusiasm certainly revived my appreciation of American cinema!
Client d’Amazon –
Indispensable
Estragon –
Martin Scorseses dreiteilige »Persönliche Reise durch den amerikanischen Film« wurde zum hundertsten Geburtstag des Films im Jahre 1995 produziert. Dass Scorseses Film trotz seines Alters nicht wirklich veraltet ist, hat damit zu tun, dass es sich um eine âºpersönlicheâ¹ Reise handelt. Die Reise stoppt nämlich am Ende des dritten Teils bei den Entwicklungen Mitte der 1960er Jahre, das heiÃt in dem Moment, als Scorsese und seine Generationsgenossen des âºNew Hollywoodâ¹ selbst die Bühne betreten. Und in eigener Sache zu urteilen wäre für Scorsese allzu persönlich. Das heiÃt aber auch: Bis in die Gegenwart reichte Scorseses kleine Filmgeschichte sowieso nie.Scorsese beginnt mit seinen ersten Kinoerinnerungen, die in die späten 1940er Jahre fallen. Den Hauptanteil bilden aber die Filme der 1950er Jahre. Die frühen persönlichen Erinnerungen sind der Ausgangspunkt und die Basis für eine systematischere Erkundung des US-amerikanischen Films. Diese findet anhand zweier Leitlinien statt. Zum einen zeigt Scorsese die Entwicklungen dreier typisch amerikanischer Filmgenres auf: Western, Gangsterfilm und Musical. Zum anderen konzentriert er sich auf die Rolle der Regisseure. Dabei unterscheidet er drei Typen: Illusionisten, Schmuggler und Bilderstürmer.Im Zuge der Durchgänge durch die Genres und durch die unterschiedlichen Selbstverständnisse von Regisseuren greift Scorsese bisweilen bis weit in die Stummfilmzeit zurück. Auch vereinzelte Ausblicke auf aktuellere Filme â etwa Eastwoods »Unforgiven« â kommen vor. Entsprechendes Bildmaterial ist stets hervorragend ausgewählt.Bei der Konzentration auf Regisseure wäre zu erwarten gewesen, dass Scorsese seinen historischen Rundgang auf typische âºAutorenfilmerâ¹ beschränkt. Doch das ist nicht der Fall. Cecil B. DeMille erhält viel Raum, aber Hitchcock ist mit gar keinem Filmbeispiel vertreten. Auch sonst ist die Auswahl sehr persönlich: Vincente Minnelli â Italo-Amerikaner wie Scorsese â wird verblüffend oft herangezogen, ebenso King Vidor und William Wellman. Lubitsch wird dagegen komplett ausgelassen.Diese Auswahl hat manchen irritiert. Aber Scorseses Festhalten am Persönlichen hat, glaube ich, enorme Vorteile: Scorseses Anteilnahme und seine Begeisterung übertragen sich auf den Zuschauer, zumal Scorsese auch entsprechend packend erzählt. Die biografische Verankerung erzeugt eine ganz eigene Ãberzeugungskraft. Und zu Recht bemerkt Scorsese, dass es mittlerweile reichlich objektivere Filmgeschichten gebe und auch genügend Filmporträts jener berühmten Filmemacher (wie Hitchcock oder Lubitsch), die er nicht berücksichtige. Das gilt heute â dreiÃig Jahre später â umso mehr.Nattürlich ersetzt Scorseses Filmgeschichte keine wissenschaftliche Abhandlung, aber wer einen ersten Ãberblick zur Geschichte des US-amerikanischen Films sucht, wird hier gut und vor allem auch unterhaltsam bedient. Scorseses Angaben sind im GroÃen und Ganzen verlässlich, nur an wenigen Stellen unterlaufen ihm kleine Fehler, â so stammte Erich von Stroheim nicht aus adliger Familie (obwohl er das gerne glauben machen wollte), und die Heimatstadt von Max Ophüls ist nicht Wien, sondern Saarbrücken.Fazit: Auch beim wiederholten Sehen habe ich mich gut unterhalten. Manches von dem, was Scorsese ausgegraben hat, war für mich Anlass, nach diesen Filmen zu suchen. In anderen Fällen hat es mich dazu gebracht, klassische Stücke noch einmal und mit neuem Blick anzuschauen. Mehr kann man wohl nicht verlangen.Die Filmausschnitte sind übrigens sämtlich im original mit Untertiteln, während Scorseses Kommentare (in der deutschen Version) deutsch eingesprochen sind. Ein, wie ich finde, akzeptables Verfahren.
Nessie –
Nous adorons ce DVD, fascinant et qui donne envie de voir tous ces films évoqués par Scorsese, avec une approche par thème (place du réalisateur, westerns, films noirs, comédies musicales..).Attention toutefois : les extraits de film sont sous-titrés en français (heureusement, de par la diction d’époque) mais pas la partie où Scorsese parle, ce qui est un choix plus qu’étrange.
Peadar O’Kovsky –
Interesting doc. But probably of most interest to film buffs / nerds. Or if you’re genuinely studying film making / moving image.