He isn’t Gordon Gekko, who engineers his greed into a social good, as if rendering himself a disinterested servant of abstract principle Belfort loves what he does.
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He takes pleasure in the money that he moves from his clients’ pockets to his own, but he also takes pleasure from the very exercise of power over his victims. His story is one of sex, drugs, and rock and roll, but with financial machinations replacing the music.īelfort turns out to be a savant of sales, a complex art of rhetoric, performance, and psychology, combined with boundless chutzpah. Belfort is furiously appetitive, idiosyncratically gifted, and perceptively opportunistic he doesn’t so much turn to the dark side as stumble into it and just keep going. Brilliantly, Scorsese doesn’t hide the story behind the story-he makes the planning of a repellently decadent party even more absorbing than the event itself, and somehow manages to make a self-administered enema seem like part of the fun. Scorsese makes Belfort’s life look as jazzed and as swinging as Belfort must have felt it was. For all its frank and confessional presentation of financial crimes and destructive pleasures, “The Wolf of Wall Street” is an outrageous comedy that, in its greatest moments, is inspired by the howling uproars of Jerry Lewis and Jackie Gleason. Reiner’s first appearance in the film is the funniest scene I’ve seen in a movie for quite some time, and my second and third runners-up are also in this film. Scorsese has done more than just put together a finely meshed ensemble he brings together flamboyant soloists who combine emotional inspiration with emblematic physical and vocal specificity.
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More or less the entire cast could fill the lists of nominees for supporting actors, especially Jonah Hill, as Donnie Azoff, Belfort’s partner in business, pleasure, and crime Rob Reiner, as Belfort’s father, Max, called Mad Max for his exotic temper Margot Robbie, as Naomi Lapaglia, Belfort’s first mistress, then second wife (her consonants alone, floating away at the end of words, deserve an Oscar) and Matthew McConaughey, in a brief but high-relief role as a swaggering Wall Street mentor that tunes the movie like a concertmaster. By being, more than ever, himself on-screen, DiCaprio realizes his role more deeply than ever before. Instead of fitting his performance to a preconception of Belfort, DiCaprio seems to be improvising on the theme of Belfort, spinning out an electric repertory of gestures and inflections. In “The Wolf of Wall Street,” he leaves impersonation behind and unleashes spontaneous bursts of energy that seem to tear through the screen. (DiCaprio is thirty-nine, but I intend no insult here-Humphrey Bogart didn’t come fully into his own until after forty.) DiCaprio has always been an extraordinarily gifted mimic, but his performances have been burdened with a second layer of mimicry-he has to play a star as well as his role. Leonardo DiCaprio, playing Belfort, gives the first fully satisfying, elbows-out, uninhibited screen performance that I’ve seen from him.
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The movie has a sharply rhythmic swing, like a great jazz band in flat-out rumble, thanks to Scorsese’s stylistic inventiveness and the wild, exhilarating performances that he elicits from his cast. “The Wolf of Wall Street” may be Scorsese’s most fully realized movie, with its elaboration of a world view that, without endorsing Belfort’s predatory manipulations and reckless adventures, acknowledges the essential vitality at their core.
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Its furious cinematic inventions are no mere flourishes they’re essential to Scorsese’s vision of Belfort’s story, and to the disturbing moral ideas that he extracts from it. He also introduces a great device to impose the protagonist’s point of view: Belfort narrates the action even while he’s in the midst of living it, addressing the camera with monologues that show him to be both inside and outside the events, converging on-screen his present and former selves. Scorsese unleashes a furious, yet exquisitely controlled, kinetic energy, complete with a plunging and soaring camera, mercurial and conspicuous special effects, counterfactual scenes, subjective fantasies, and swirling choreography on a grand scale. The jangled story line sticks close to Belfort’s perspective his voice guides the action, and Scorsese’s freewheeling direction captures the autobiographer’s raunchy, discursive vigor.