Editing Martin Scorsese (section)

=== 1990–1999: Established director ===
[[File:RobertdeNiro26.JPG|thumb|left|170px|Scorsese collaborated with [[Robert De Niro]] on numerous projects.]]
After a decade of films considered by critics to be mixed results, some considered Scorsese's gangster epic ''[[Goodfellas]]'' (1990) 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. 1 on Ebert's movie list for 1990, along with those of [[Gene Siskel]] and [[Peter Travers]]', and is widely considered one of the director's greatest achievements.<ref>{{Cite news |url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19900902/REVIEWS/9020301/1023 |title=:: rogerebert.com :: Reviews :: GoodFellas (xhtml) |publisher=Rogerebert.suntimes.com |date=September 2, 1990 |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20100730045115/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19900902%2FREVIEWS%2F9020301%2F1023 |archive-date=July 30, 2010}}</ref><ref>{{Cite news |url=https://www.hollywoodreporter.com/thr/reviews/review_display.jsp?vnu_content_id=1000623089 |title=GoodFellas |work=[[The Hollywood Reporter]] |access-date=March 3, 2010 |archive-url=https://web.archive.org/web/20050206091630/http://www.hollywoodreporter.com/thr/reviews/review_display.jsp?vnu_content_id=1000623089 |archive-date=February 6, 2005 |first=Stephen |last=Dalton |url-status=live}}</ref><ref>{{cite web |url=http://www.filmsite.org/goodf.html |title=GoodFellas (1990) |publisher=Filmsite.org |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20100110122117/http://www.filmsite.org/goodf.html |archive-date=January 10, 2010}}</ref> The film was nominated for six Academy Awards, including Best Picture and Best Director, and Scorsese earned his third Best Director nomination but again lost to a first-time director, [[Kevin Costner]] (''[[Dances with Wolves]]''). Joe Pesci earned the [[Academy Award for Best Supporting Actor]] for his performance. Scorsese and the film also won many other awards, including five [[BAFTA]] Awards, a [[Silver Lion]] and more. The American Film Institute placed ''Goodfellas'' at No. 94 on the AFI's 100 Years&nbsp;... 100 Movies list. On the 2007 updated version, they moved ''Goodfellas'' up to No. 92 on the AFI's 100 Years&nbsp;... 100 Movies list (10th Anniversary Edition) and put ''Goodfellas'' at No. 2 on [[AFI's 10 Top 10#Gangster|their list of the top 10 gangster films]] (after ''[[The Godfather]]'').

In 1990, he released his only short-form documentary: ''[[Made in Milan]]'' about fashion designer [[Giorgio Armani]]. The following year brought ''[[Cape Fear (1991 film)|Cape Fear]]'', a remake of a cult [[Cape Fear (1962 film)|1962 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 (film)|The Night of the Hunter]]'' (1955). ''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. Earning $80 million domestically, it stood as Scorsese's most commercially successful release until ''The Aviator'' (2004), and then ''The Departed'' (2006). The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2.39:1.

In 1990, Scorsese acted in a small role as [[Vincent van Gogh]] in the film ''[[Dreams (1990 film)|Dreams]]'' by Japanese director [[Akira Kurosawa]]. Scorsese's 1994 cameo appearance in the [[Robert Redford]] film ''[[Quiz Show (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."

In 1994, Scorsese and producer Barbara De Fina formed the production company 
De Fina-Cappa.<ref>{{cite web |url=https://letterboxd.com/studio/de-fina-cappa |title=Films produced by De Fina-Cappa |work=[[Letterboxd]] |access-date=November 15, 2010 |url-status=live |archive-url=https://web.archive.org/web/20140903011625/http://letterboxd.com/studio/de-fina-cappa/ |archive-date=September 3, 2014}}</ref> In the early 1990s, Scorsese also expanded his role as a film producer. He produced a wide range of films, including major Hollywood studio productions (''[[Mad Dog and Glory]]'', ''[[Clockers (film)|Clockers]]''), low-budget independent films (''[[The Grifters (film)|The Grifters]]'', ''[[Naked in New York]]'', ''[[Grace of My Heart]]'', ''[[Search and Destroy (1995 film)|Search and Destroy]]'', ''[[The Hi-Lo Country]]''), and even the foreign film ''[[Con gli occhi chiusi]]'' (''With Closed Eyes'').

[[File:Martin Scorsese 03.jpg|thumb|right|Scorsese in 1995]]

''[[The Age of Innocence (1993 film)|The Age of Innocence]]'' (1993) was a significant departure for Scorsese, a period adaptation of the [[Edith Wharton]] [[The Age of Innocence|novel]] about the constrictive high society of late-19th 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. In ''Scorsese on Scorsese'', he documents influences from films such as [[Luchino Visconti]]'s ''[[Senso (film)|Senso]]'' and his ''[[The Leopard (1963 film)|Il Gattopardo]]'' (''The Leopard'') as well as [[Orson Welles]]'s ''[[The Magnificent Ambersons (film)|The Magnificent Ambersons]]'' and also Roberto Rossellini's ''[[La prise de pouvoir par Louis&nbsp;XIV]]'' (''The Taking of Power by Louis&nbsp;XIV''). 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. The film earned five Academy Award nominations (including Best Adapted Screenplay for Scorsese), winning the Costume Design Oscar. This was his first collaboration with the Academy Award-winning actor [[Daniel Day-Lewis]], with whom he would work again on ''Gangs of New York''. This was Scorsese's first film to be shot on Super 35 format.

''[[Casino (1995 film)|Casino]]'' (1995), 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,<ref name="variety-gross">{{cite news |url=https://variety.com/2013/film/news/andrew-garfield-to-star-in-martin-scorseses-silence-exclusive-1200470625/ |work=[[Variety (magazine)|Variety]] |first=Scott |last=Foundas |title=Andrew Garfield to Star in Martin Scorsese's 'Silence' (EXCLUSIVE) |date=May 7, 2013 |url-status=live |archive-url=https://web.archive.org/web/20140430081104/http://variety.com/2013/film/news/andrew-garfield-to-star-in-martin-scorseses-silence-exclusive-1200470625/ |archive-date=April 30, 2014}}</ref> 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.<ref>{{Cite web|date=2016|title=Beyond The Frame: Casino|url=https://ascmag.com/articles/beyond-the-frame-casino-1995|access-date=November 1, 2020|website=[[American Cinematographer]]|archive-date=December 27, 2020|archive-url=https://web.archive.org/web/20201227045146/https://ascmag.com/articles/beyond-the-frame-casino-1995|url-status=live}}</ref> [[Sharon Stone]] was nominated for the [[Academy Award for Best Actress|Best Actress Academy Award]] for her performance. 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 1995, titled ''[[A Personal Journey with Martin Scorsese Through American Movies]]'', offering a thorough trek through American cinema. It covered the silent era to 1969, a year after which Scorsese began his feature career. He said, "I wouldn't feel right commenting on myself or my contemporaries." In the four-hour documentary, Scorsese lists the four aspects of the director he believes are the most important as (1) the director as storyteller; (2) the director as an illusionist: D. W. Griffith or F. W. 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]]'' (1997) 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 vivant|tableau]] of colorful visual images.<ref>{{cite magazine |url=https://www.timeout.com/film/78857.html |title=Kundun |magazine=[[Time Out (magazine)|Time Out]] |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20080110232624/http://www.timeout.com/film/78857.html |archive-date=January 10, 2008}}</ref> The film was a source of turmoil for its distributor, [[Walt Disney Studios Motion Pictures|Buena Vista Pictures]], which was planning significant expansion into the Chinese market at the time. 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 Scorsese's second attempt to profile the life of a great religious leader, following ''The Last Temptation of Christ''.

''[[Bringing Out the Dead]]'' (1999) 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''.<ref>{{cite web |title=New York Stories: A Complete Ranking of Martin Scorsese's Films Read More: Ranking Martin Scorsese's Movies From Best to Worst |date=December 20, 2013 |url=https://screencrush.com/scorsese-list/ |publisher=[[ScreenCrush]] |access-date=April 18, 2014 |url-status=live |archive-url=https://web.archive.org/web/20140428142744/http://screencrush.com/scorsese-list/ |archive-date=April 28, 2014}}</ref> Like earlier Scorsese-Schrader collaborations, its final scenes of spiritual redemption explicitly recall the films of Robert Bresson.<ref>{{cite web |url=http://www.film-philosophy.com/vol4-2000/n12reinert |title=Reinert on Bringing Out the Dead |publisher=Film-philosophy.com |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20110629174544/http://www.film-philosophy.com/vol4-2000/n12reinert |archive-date=June 29, 2011}}</ref> (It is also worth noting that the film's incident-filled nocturnal setting is reminiscent of ''After Hours''.) It received generally positive reviews,<ref>{{cite web |website=rottentomatoes.com |url=https://www.rottentomatoes.com/m/bringing_out_the_dead/ |title=Bringing Out the Dead |date=October 22, 1999 |archive-url=https://web.archive.org/web/20100305070758/http://www.rottentomatoes.com/m/bringing_out_the_dead/ |archive-date=March 5, 2010 |access-date=January 29, 2007}}</ref> although not the universal critical acclaim of some of his other films. It stars [[Nicolas Cage]], [[Ving Rhames]], [[John Goodman]], [[Tom Sizemore]], and [[Patricia Arquette]].

On various occasions Scorsese has been asked to present the [[Honorary Academy Award]] during the Oscar telecast. In 1998, at the [[70th Academy Awards]], Scorsese presented the award to film legend [[Stanley Donen]]. When accepting the award Donen quipped, "Marty this is backwards, I should be giving this to you, believe me".<ref>{{cite web|url=https://www.indiewire.com/2019/02/stanley-donen-oscar-speech-lifetime-achievement-1202046260/|title=Stanley Donen's Oscar Speech was an all time classic|website=[[IndieWire]]|date=February 23, 2019|access-date=March 20, 2020|archive-url=https://web.archive.org/web/20200321064901/https://www.indiewire.com/2019/02/stanley-donen-oscar-speech-lifetime-achievement-1202046260/|archive-date=March 21, 2020|url-status=live}}</ref> In 1999, at the [[71st Academy Awards]], Scorsese and De Niro presented the award to film director [[Elia Kazan]]. This was a controversial pick for the academy due to Kazan's involvement with the [[Hollywood blacklist]] in the 1950s.<ref>{{cite news|url=https://www.nytimes.com/1999/03/22/arts/amid-protests-elia-kazan-receives-his-oscar.html|title=Amid Protests Elia azan Receives His Oscar|newspaper=[[The New York Times]]|date=March 22, 1999|access-date=March 20, 2020|archive-url=https://web.archive.org/web/20100411082939/http://www.nytimes.com/1999/03/22/arts/amid-protests-elia-kazan-receives-his-oscar.html|archive-date=April 11, 2010|url-status=live|last1=Weinraub|first1=Bernard}}</ref> Several members of the audience including [[Nick Nolte]] and [[Ed Harris]] refused to applaud Kazan when he received the award while others such as [[Warren Beatty]], [[Meryl Streep]], [[Kathy Bates]], and [[Kurt Russell]] gave him a standing ovation.<ref>{{cite web|url=https://www.theguardian.com/culture/1999/mar/22/awardsandprizes|title=Praise and silent protest greet Kazan's Oscar|website=[[The Guardian]]|date=March 22, 1999|access-date=March 20, 2020|archive-url=https://web.archive.org/web/20200321064859/https://www.theguardian.com/culture/1999/mar/22/awardsandprizes|archive-date=March 21, 2020|url-status=live}}</ref><ref>{{cite web|url=https://www.latimes.com/archives/la-xpm-1999-mar-22-mn-19738-story.html|title=Many Refuse to Clap as Kazan Receives Oscar|website=[[The Los Angeles Times]]|date=March 22, 1999|access-date=March 20, 2020|archive-url=https://web.archive.org/web/20200321064900/https://www.latimes.com/archives/la-xpm-1999-mar-22-mn-19738-story.html|archive-date=March 21, 2020|url-status=live}}</ref>