![]() ![]() Patrick’s, Scorsese was an altar boy and often served at the Saturday morning Mass for the Dead. “The power of the church was as a sort of balm, ” an oasis from the dangerous world outside. “The mood in the church itself is something very peaceful, ” Scorsese said. Set in stark contrast to the hustle and bustle was Old St. His parents, Charles and Catherine, were devout Catholics who worked hard as a clothes presser and seamstress to provide for their family. “The block we lived on was mainly Sicilian, and one block away was skid row, ” a frightening place where the criminal element loomed large. “I was thrown into this world, which was a street world, butcher shops-two on each block-grocery stores, almost like a thriving medieval village, ” Scorsese recalled. After falling on hard economic times, the Scorsese family had to relocate to a cramped tenement apartment in Little Italy. Born in 1942, Scorsese lived his first seven years in a comfortable house in Queens- “the suburbs, ” as he called it. The conversation kicked off with the director talking about his upbringing in New York City. Anthony Messenger, were treated to an hour-long conversation between the two, as they discussed Silence, spirituality, and his decades in the film industry. Members of the Catholic press, including St. Life on the Mean StreetsĪt the 2017 Catholic Media Conference (CMC) in Qu ébec City, Canada, Scorsese sat down for a Q&A session with Paul Elie, director of the American Pilgrimage Project and frequent contributor to the New York Times, following a screening of Silence. A look at his upbringing in an Italian American, working-class, Catholic family in New York City sheds more light on the roots of his artistic development than any academic research could provide. To understand Scorsese’s distinct take on the Catholic imagination, though, you don’t need to read volumes on Catholic aesthetics or scholarly articles on his work in film journals. There’s even a term for this uniquely Catholic approach to the arts: “the Catholic imagination.” Famous for his Mafia movies (such as Goodfellas, Casino, and The Irishman, which premiered at the New York Film Festival this past September), you might be surprised to learn that one of his lifelong ambitions was to complete what’s been dubbed his “faith trilogy ” of films: The Last Temptation of Christ, Kundun, and Silence.Īll three films are deeply rooted in a particularly Catholic sensibility and perception of the world. But when you hear or see the name Martin Scorsese, Catholic art is probably not the first association you would make. When you think of the phrase Catholic art, images of Renaissance paintings or marble statues might come to mind. ![]()
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