The term ‘Honorary Englishman’ is often bandied about, but it’s never seemed quite as apt as in the case of Martin Scorsese.
To hear the quintessential New Yorker, the son of working class Italian-Americans, waxing lyrical and so knowledgably about British cinema – whether it’s the past pleasures of Ealing Studios and Powell-Pressburger or the skills of contemporary filmmakers like Andrea Arnold, Lynne Ramsay and Joanna Hogg – is like a riveting domestic masterclass.
Venerable titles such as The Red Shoes (1948), The Fallen Idol (1948) and The Blue Lamp (1950), trip off his tongue as he explains how it was American and British Cinema – okay, with some neo-realist Italian thrown in, too – that were the principal building blocks for a remarkable career that has now spanned more than 40 years.
Becoming a Fellow
Scorsese’s Academy Fellowship comes on the back of no fewer than 11 BAFTA nominations down the years, including three wins for 1991’s Goodfellas (Direction, Adapted Screenplay and Best Film). This was, incidentally, a good 16 years before he finally got an Oscar from his native Academy for The Departed (2006).
So his acknowledgement of the award is clearly heartfelt as he explains: “Because of the importance of British cinema to me and the powerful influence it had on my life, the word ‘special’ is inadequate for such an honour. I am really pleasantly surprised; I certainly didn’t expect it.”
The more obvious surprise to everyone else is that for a man with such a deep and abiding love of British cinema, it took him so long to make a film in the UK, which he finally did last year with Hugo (2011).
“I tried,” he asserts, “but the elements didn’t ever coordinate, usually thematically.” Over the years there were talks about remakes of The Heart Of The Matter (1953) – “that seemed to get tied up in rights issues” – and even Brighton Rock (1947), “and I said I couldn’t go near that material as I don’t quite get it.
“It’s like when they once asked Fellini: ‘Why don’t you come and make a film in New York? And he replied, ‘I don’t understand it.’ There’s a tradition of British noir that goes from something like Night And the City (1950) right up to things like The Long Good Friday (1980), Sexy Beast (2000) and beyond. It’s a genre in itself.”
“Because of the importance of British cinema to me, the word ‘special’ is inadequate for such an honour,” – Scorsese reacts to receiving the BAFTA Fellowship