What’s Going On?

In a crowded club, Tommy DeVito is telling a story, everyone is hanging on his every word, and the story involves a time he committed a crime and got arrested by the police. In the story, Tommy is beaten by the police but he continues to be rude and defiant to them. Everyone else is in hysterics in what is clearly meant to be a funny story. When Henry Hill makes the throwaway comment that Tommy is a “funny guy” the mood changes. Suddenly Tommy is upset and thinks Henry is mocking him. Henry stumbles as he tries to explain what he meant, while other members of the group try and calm things down. Just as Tommy seems on the verge of violence Henry starts laughing and the tension is gone – Tommy was joking. A moment later after a discussion about paying his tab, Tommy smashes a bottle over the head of the owner, again to riotous laughter, and not just from his own friends but from many of the other patrons. When Tommy comes back once again he calls Tommy “a funny guy” leading to more mock anger from Tommy.

Tommy DeVito

This is one of the first scenes we see as Henry and Tommy as adults, having seen them as youngsters as they started working for the mob. This scene sets up the whole of the film for Tommy DeVito. He’s impulsive, he’s reckless, he’s scary and he might be a little crazy. When he is intimidating Henry the group seems to have a genuine fear that this will end in violence; that attacking a childhood friend over nothing is exactly the sort of thing Tommy might do. A moment later Tommy does attack the club owner, someone well known to them all, but no one tries to calm Tommy down. In fact, this horrific event does nothing to spoil the mood, showcasing this level of casual violence against someone outside of their group is entirely normal. Like many people of my generation, my introduction to Joe Pesci was Home Alone, the silly slapstick-violence home invasion children’s film, and it was some time before I discovered the other side to Joe Pesci’s career.

Pesci is amazing in this scene. As is pointed out throughout the film, he is short, not immediately physically imposing, but he relentlessly and effectively portrays Tommy as extremely intimidating. The story he is telling is funny and charming and with moments of self-deprecation – and when I say funny and charming that is how his friends are perceiving it, they are in riotous laughter. Tommy’s short temper is clearly not only dangerous for other people but a liability in a criminal enterprise. But none of them seems to care, at worst, they see it as a minor character flaw.

Like a clown? I amuse you?

I have long thought about why someone saying “you’re a funny guy” could ever be construed as an insult. And I think it’s a question of what you are as opposed to what you can do – Tommy can tell a funny story, that’s an admirable talent, but to be funny, to be laughed at (even if you’re attempting to make people laugh) is weak and pathetic. Tommy is not funny. He is scary, he is tough, he is to be feared and respected. The outburst of violence at the club owner is about Tommy not feeling respected. The waiter is nervous to bring him the bill because…well because he smashes bottles over people, and that’s when he’s in a good mood.

How scared is Henry?

It would be interesting to know whether Henry always knew Tommy was joking or if he only worked it out at the end, or if indeed he had no idea but could see that as the only way out. Henry certainly looks scared, those around him look concerned, and again, Henry is one of Tommy’s closest friends. The stress that mounts on Henry throughout the film is evident here – not only does he have to worry about rival criminals and the police, he can’t be completely sure his best friend won’t attack him with a bottle.

The scene is a few minutes of outright brilliance and does much to set the tone for the rest of the film. In many scenes, happy get-togethers and fun gatherings descend into violence or intimidation with little provocation or it’s clear that violence is only a poorly chosen word away.

Also Read: The Many Films of Martin Scorsese

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Martin Scorsese

What He Won For – When The Departed finally got Martin Scorsese his Best Director Oscar, there was almost a universal declaration that is was for the wrong film. In fact, this is the film that inspired the whole article, the classic example of the Academy rewarding a career of greatness rather than the particular film.

What He Should Have Won For – There are a lot of contenders but it is a crime for which someone should be arrested that he did not win for Goodfellas. This is one of the best films ever made, and in my opinion, edges out even The Godfather as the definitive Mafia film. This is an epic story of crime, friendship and betrayal with some of the most memorable scenes in film history, such as the long take entrance to the Copacabana, Joe Pesci asking if he is a clown and the stunning final scene wrapping up what has happened with Henry Hill’s narration. It is a practically perfect film.

Alfonso Cuaron

What He Won For – Cuaron has two Best Director awards, one for Roma and one for Gravity. As I have not seen Roma, I cannot comment, but I have seen Gravity. Again, this is not a bad film; it’s a very good film, but it certainly feels more like a technical achievement than an artistic one. It is the only film I have seen where I thought it made sense to be in 3D, where the director actually did something worthwhile with that technology.

What He Should Have Won For – One of the great overlooked and underrated films of all time – Children of Men. This is one of the bleakest settings for a film ever, yet it ends up being hopeful. There are technically brilliant shots – such as two incredible long takes, one of a conversation and subsequent attack in a car, which I’ve never been able to work out how it was filmed, and the shot near the end of the film of Theo rushing through a warzone, which is a contender for the best scene ever filmed. But there’s also a lot of emotion and caring. Theo’s relationship with Kee is very touching, and Theo transforms from one of the most jaded and cynical people you can imagine to someone willing to die for someone else.

James Cameron

What He Won For – In my younger, less cinema-literate days, I assumed there were two directors named James Cameron – Cool James Cameron and Not Cool James Cameron, one made brilliant sci-fi and the other made Titanic, but indeed they are the same person, and Cameron got his Oscar for Titanic. This is a bad film that relies on the romanticism of the real Titanic. Certainly, it is a visual spectacle, and the sinking of the ship is very well done, but still, it is a bad film.

What He Should Have Won For – Cameron can lay claim to making two of the best sequels ever, Terminator 2: Judgement Day and Aliens, but I think the latter narrowly takes it. In Aliens, Cameron does something which is nearly impossible in that he introduces a young child character that not only isn’t annoying but improves the film. Ripley’s relationship with Newt basically becomes the central part of the film and has a big emotional impact. As well as this emotional weight, the film has some of the greatest action scenes ever and is incredibly enjoyable. The Academy has a long history of disdain to science-fiction and not recognising the brilliance of Aliens is another part of that history.

Ron Howard

What He Won For – A Beautiful Mind won four Oscars, including one for Ron Howard as director. Certainly not a bad film, but hardly the best example of Howard’s talents.

What He Should Have Won For – Howard has a number of great films, but Frost/Nixon is an astonishing achievement. An adaptation of a play where most of the dramatic moments are literally one person interviewing another does not scream cinematic, but it is gripping. Perhaps the most dramatic moment, however, is not part of the interview, with Nixon calling Frost in a rant about how they were both from humble backgrounds, were always looked down upon by the upper class and were going “to make them choke on our success” is unforgettable.

Also Read: Oscar-Winning Actors Who Deserved Their Award For A Different Role

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