Development[ edit ] After the success of PlatoonStone wanted film school friend and Los Angeles screenwriter Stanley Weiser to research and write a screenplay about quiz show scandals in the s. The director pitched the premise of two investment partners getting involved in questionable financial dealings, using each other, and they are tailed by a prosecutor as in Crime and Punishment. This man started making mistakes that cost him everything. Stone remembers that the "story frames what happens in my movie, which is basically a Pilgrim's Progress of a boy who is seduced and corrupted by the allure of easy money.
Share via Email Comic timing It's a raucous, crazily energised, if occasionally slightly shallow epic on a familiar subject, conducted in the classic voiceover-nostalgia style with sugar-rush jukebox slams on the soundtrack.
I've watched it twice in quick succession now, and though it skirts the edge of cliche, the sheer sustained blitz of bad taste is spectacular.
This movie sprints frantically, in the direction of nowhere in particular, like our appalling hero after his first ecstatic toke of crack cocaine.
It is based on the memoirs of crooked broker Jordan Belfort who during the s and 90s enjoyed unlimited amounts Wallstreet film review sports cars, drugs and prostitutes, paid for by millions of dupes and dopes buying his fraudulently inflated stocks.
Finally, like Henry Hill before him, Belfort has to swallow hard and confront the possibility of betraying his partners to minimise the inevitable jail term. Leonardo DiCaprio — credited as producer, alongside Scorsese — plays Belfort and his character gets to the end of this long movie having learned nothing, conceded nothing and even physically changed in no obvious way.
The vulpine salesman's broad smile is still more or less in place. The comparison with Hill is actually inexact: It's entertainingly outrageous, and there's a shaggy-dog comic effect in seeing the same nightmare debauch over and over, although I don't think the coke'n'strippers war stories exactly constitute that critique of capitalism that some pundits have claimed for this film.
But what gives the film its unwholesome black-comic fizz, and a measure of originality, is that Belfort never displays any remorse; there is no narrative comeuppance, no rebuke from anyone whose moral authority he recognises.
The sulphurous whiff is conjured by his very impenitence. And if we suspect that in the financial world agrees with former Barclays CEO Bob Diamond that its "period of remorse needs to be over" — well, maybe Belfort is the broker for our times.
And he never saw any need for any period of remorse in the first place. It zooms along, and DiCaprio always looks the part — there's even a touch of Cagney sometimes.
Belfort starts getting rich through selling unregulated penny stocks over the phone in a "chop shop": Belfort turns his operation into a glitzy firm and holds colossal trading-floor parties with dancing girls like a low-rent Charles Foster Kane.
But when the Securities and Exchange Commission and the FBI start taking an interest, he needs to hide the cash through Swiss and British contacts, enabling a cameo from Jean Dujardin as the corrupt banker Jean Jacques Saurel and a glorious appearance from Joanna Lumley as Belfort's "Aunt Emma" with whom he has a wonderfully surreal romantic clinch.
Although not a natural comedy player, DiCaprio has a great comic moment when a cheesy infomercial he's shooting is horribly interrupted by the forces of the law. The best scene comes when the Bureau's dogged, straight-arrow agent Patrick Denham, played by Kyle Chandler, requests a meeting with Belfort aboard his yacht.
What is going on here? It's a great moment: DiCaprio raises his game and the whole film achieves a new level of tension and complexity.
The Wolf of Wall Street does not quite have the subtlety and richness of Scorsese's very best work, but what an incredibly exhilarating film:At nearly three hours of pushing the R rating, Martin Scorsese's film leaves no storytelling trick unused while watching Jordan Belfort embrace Wall Street's cutthroat ethos.
Dec 11, · What a relief to watch a film unafraid of letting its hair down. White Boy Rick; Review Archives Stone's "Wall Street" is a radical critique of the capitalist trading mentality, and it obviously comes at a time when the financial community is especially vulnerable.
The movie argues that most small investors are dupes, and that the big /5. At nearly three hours of pushing the R rating, Martin Scorsese's film leaves no storytelling trick unused while watching Jordan Belfort embrace Wall Street's cutthroat ethos.
Dec 11, · Watch video · "Wall Street" is really the only film I can think of to deal seriously with its subject matter. Everyone of the age remembers the yuppie phase this nation had in the mids.
Young urban professionals did their best to make as much as they could as fast as possible (sometimes through crooked and illegal means).
/10(K). Dec 11, · Review Archives Howards End. Roger Ebert on James Ivory's "Howards End". Ballad of Narayama "The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty.
Stone's "Wall Street" is a radical critique of the capitalist trading mentality, and it obviously comes at a time when the /5. Discover the latest and breaking Film Review news from The Wall Street Journal. Dow Jones, a News Corp company News Corp is a network of leading companies in the worlds of diversified media, news.