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(The ending of Goodfellas, for instance, didn’t provoke a national nervous breakdown.) But the influence goes deeper. Why does a person become a gangster, and how do we, the audience, feel about the choice? The world is not easy for middle children, but Goodfellas shows the truth of another axiom, too: Sometimes the bad guys have all the fun. © Aberdeen Journals Ltd 2020. Dak Prescott’s pursuit of the passing record at least made the Cowboys interesting. No one. You could add Deadwood, Better Call Saul, Killing Eve, Succession, and countless others, in one way or another, to the list of shows that adapt Goodfellas’ “It’s fun … we’re doomed” tension for television—though even the best of them seldom approach the offhand elegance of Scorsese’s masterpiece. The Godfather gives Michael a series of decisions in which the seemingly “good,” or at least brave and honorable, course prompts him to move deeper and deeper into mob life. The partially eclipsed condition of what might be Scorsese’s best film isn’t really fair. Revisiting the Best Picture Oscar winner starring Michael Keaton, Mark Ruffalo, and Rachel McAdams. In a world defined by the silence of God, people’s inner suffering tends to fall in direct proportion to how thoughtful they are and how good they try to be. Goodfellas is far more than a transitional film, but it does link the past and the future in some important ways. Chris and Andy discuss the TV viewing experience in 2020, watching a TV show like ‘Borgen’ versus ‘Fargo,’ and more, Bryan and David preview the second and final 2020 presidential debate before Jacob Soboroff joins to discuss his new book and his career as an MSNBC correspondent, Jemele and Van also discuss a ‘Wire’ star who almost beat Daniel Craig out to be James Bond, Content ©2020 The Ringer All Rights Reserved, How ‘Goodfellas’ Serves As the Bridge Between ‘The Godfather’ and ‘The Sopranos’, The NFC East Is Officially a Masterclass in Football Ineptitude. They’re not tenors in some high-toned tragic opera; they’re amoral schmoes who like sharp suits, money in their pockets, and good seats when they take their girlfriends to the Copa. In addition to The Sopranos, there’s Breaking Bad (it’s fun to watch a nebbishy chemistry teacher start kicking ass and become a criminal mastermind; this also corrodes his soul and destroys his relationships), Mad Men (it’s fun to watch a privileged alpha male operate in a world where he can do whatever he wants; he also hurts almost everyone who becomes close to him and he risks despair and emotional isolation), The Shield (it’s fun to watch a detective operate outside the law; this also ruins his family and community), The Wire (multiple antihero subplots), The Americans (it’s fun to watch spies lie and kill and manipulate; it also corrodes their sense of identity and leaves countless innocent victims in their wake). He never asked for this. There’s no opulent Corleone sadness on screen; it’s been replaced by a stripped-down sense that crime is a temptation and giving into temptation feels great. Instead of clothing a violent story in respect for your dignity as a viewer, Goodfellas wants you to feel how exhilarating it is to misbehave. Instead of Coppola’s quiet visual of a fish stuffed in a bulletproof vest, Scorsese gives us De Niro’s shoe crashing into Frank Vincent’s rib cage again and again and again. From a moral perspective, the heroes of Goodfellas are essentially toddlers: They take what they want, they hit you if they don’t like you, and they throw violent tantrums when they don’t get their way. The Godfather approaches this tension by imbuing the world of organized crime with a dark grandeur of feudal morality. Where The Godfather asked, “Do you like watching this now that you know what you were watching?” and Goodfellas answered, “You’ll like watching it even if you know from the beginning,” The Sopranos threw up its hands and said, “Why the fuck do you like watching this?”. The stakes of humanism matter in The Sopranos, and Chase needs you to know it; Goodfellas, sticking closely to the perspectives of its protagonists, doesn’t bother with any of that fancy stuff, not when there are airports to rob and furs to swipe off trucks. The thrill of watching the characters behave badly keeps swerving uneasily into recognition of the damage their bad behavior does to everyone they meet. In The Sopranos, the protagonists have lost this innocence. Even if the upshot is to argue that Goodfellas is better than The Godfather, as Roger Ebert thought it was, or that it inspired The Sopranos, as David Chase acknowledges it did, its counterparts seem to keep it under a kind of reverential shadow. Martin Scorsese has said he only ever watched one episode of The Sopranos because he could not identify “with that generation of the underworld”. 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Plus: MSNBC’s Jacob Soboroff, Analyzing “Know Your Place” and Breaking Down One of Its Iconic Scenes. Ahead of Goodfellas turning 30 on Saturday, The Ringer looks back on the moments that define the movie in all of its complex, violent, darkly comedic glory. Or at least it does right up until it crosses the invisible line that makes it feel queasy and disturbing. In part, this ambiguity is enabled by The Godfather’s semi-euphemistic relationship to violence. Michael’s father is shot; he has to help his family get revenge. What did their showings teach us? Martin Scorsese’s Goodfellas opened 30 years ago this week, on September 19, 1990. If it’s true that every great work of art ends one genre and founds another, then Goodfellas could be seen as the culmination of the tradition represented by The Godfather and as the vital link between the New Hollywood cinema of the ’70s and what we now think of as the golden age of TV. In part, this is because its importance is harder to quantify. Nothing.”. The movie didn’t launch an array of imitators (at least, not imitators that weren’t already imitating The Godfather) or transform an industry. It took the central tension of the old mob-movie genre—the tension between our emotional identification with the characters and our moral judgment of their actions—to a giddy new place that looked ahead not just to Tony Soprano but to Walter White, Don Draper, and the other prestige antiheroes of 21st-century TV.

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