The Wolf of Wall Street

 

The Wolf of Wall Street is quite a surprise. It is a far more sedate film than I expected from Martin Scorsese, a director typically associated with an extremely mobile camera and a plethora of stylistic techniques. Raging Bull, Goodfellas and The Departed are prime examples of Scorsese’s tendency to use whip pans, crash-zooms, pin holes and all manner of other cinematic devices. By contrast, The Wolf of Wall Street uses a steady, measured approach, largely recording the events of the plot rather than inflecting them, although there are some distinctive long takes. Furthermore, the dialogue scenes are remarkably long, the actors given time and space to develop their performances. This is especially true of Leonardo DiCaprio, who delivers a career-best, rocket-fuelled performance that powers the film through all manner of debauchery. If Scorsese is more sedate than usual, DiCaprio has never been more ferocious, his character Jordan Belfort powerhousing his way through money, drugs, whores, clients, friends, wives and authorities with scant or no regard for consequences. While Belfort is utterly loathsome, he is never less than compelling, a hugely charismatic and enthralling presence so utterly committed to excessive consumption that he is practically a personification of unmitigated capitalism. At three hours, the film might be too long for some, but I found the measured pace and very detailed story effective at conveying a hedonistic and voracious segment of society. Welcome to the life of the 1%. Now run away screaming.

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