GoodFellas

97 **Favourite Films** ‘Goodfellas’ is a masterclass in visual storytelling, engulfing itself into the endless confusion and duplicitousness of mobster lifestyle. Each freeze-frame in Henry Hill’s story a piece of fragmentation that act as key-points for a change in heart: a reflection. Martin Scorsese and his crew perfectly encapsulate constant motion and iniquity throughout this epic, virtuosic, and timeless classic. Scorsese and cinematographer Michael Ballhaus bombard this film with all the possible camera shots, movements, and angles, from point-of-view stills to three minute long continuous takes. All of this imagery allows us as viewers to understand the breadth of gangster life. The overwhelming necessity of saying ‘hello’ to every Peter and Paul, and the anticipation of horrific murder as they march, guns in pockets. But also the excruciating presence of this constant lifestyle. At home. In the car. In a restaurant. The freeze-frames show Hill’s inevitable downfall. Perhaps the constant ambiguity of each malicious character in this film is emphasised by motion. How each one can spring into life or action just like that. How they are at their most approachable just before they’re about to ‘whack’ you. All of the bonhomie moments are lies. The three minute long shot of Henry and Karen through the Copacabana is undoubtedly all you need to see to know how amazing this piece of filmmaking really is. But then, tenderness. Sentimentality seems so truthful, assisted by the contrast of still frames. The colour scheme natural and earthly, unlike the menacing red glow. Perhaps there is a grounded-ness, perhaps there has to be in every lifestyle. Is cocaine grounded? Is sleep grounded? Editor Thelma Schoonmaker is in a league of her own in this film. She brings a musical quality to the film: it sings. Every piece of dialogue, narration, music, and imagery all synergetic, and masterfully woven together. It is the beautiful visual work combined with perfect casting and acting that makes this film a true classic. All three principal actors: De Niro, Liotta, and Pesci, all embody their characters, and really suit their temperament in every aspect. Their voices, hair, and faces. All of it. Only theirs. Finally, the jukebox music rounds this film off. Even the music goes on a journey, and is intrinsically linked to Henry Hill’s character. It also feels bittersweet in every moment: this music you know and love feels exactly right for a bloody shitshow and vigorous murder. Are you therefore engaged or even culpable? Truthfully, everything works here, and I think synergy is the perfect word for this film. Synergy.