THE PHILOSOPHY OF MARTIN SCORSESE The Philosophy of Popular Culture The books published in the Philosophy of Popular Culture series will illu- minate and explore philosophical themes and ideas that occur in popular culture. The goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. This series seeks to publish both es- tablished and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophi- cal and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. SERIES EDITOR Mark T. Conard, Marymount Manhattan College, NY BOOKS IN THE SERIES The Philosophy of Stanley Kubrick, edited by Jerold J. Abrams The Philosophy of Martin Scorsese, edited by Mark T. Conard The Philosophy of Neo-Noir, edited by Mark T. Conard Basketball and Philosophy, edited by Jerry L. Walls and Gregory Bassham THE PHILOSOPHY OF MARTIN SCORSESE Edited by Mark T. Conard The University Press of Kentucky Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2007 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 11 10 09 08 07 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data The philosophy of Martin Scorsese / edited by Mark T. Conard. p. cm. — (The philosophy of popular culture) Includes bibliographical references and index. ISBN 978-0-8131-2444-5 (hardcover : alk. paper) 1. Scorsese, Martin—Criticism and interpretation. I. Conard, Mark T., 1965- PN1998.3.S39P55 2007 791.4302’33092—dc22 2007003156 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Member of the Association of American University Presses Contents Introduction 1 Part 1. Authenticity, Flourishing, and the Good Life No Safe Haven: Casino, Friendship, and Egoism 7 Steven M. Sanders God’s Lonely Man: Taxi Driver and the Ethics of Vigilantism 23 Aeon J. Skoble Goodfellas, Gyges, and the Good Life 31 Dean A. Kowalski Mean Streets: Beatitude, Flourishing, and Unhappiness 53 Mark T. Conard Part 2. Rationality, Criminality, and the Emotions The Cinema of Madness: Friedrich Nietzsche and the Films of Martin Scorsese 75 Jerold J. Abrams The Age of Innocence: Social Semiotics, Desire, and Constraint 93 Deborah Knight After Hours: Scorsese on Absurdity 109 Jennifer L. McMahon The Pupkin Gambit: Rationality and Irrationality in The King of Comedy 129 Richard Greene vi Contents Part 3. Vision, Salvation, and the Transcendental The Last Temptation of Christ and Bringing Out the Dead: Scorsese’s Reluctant Saviors 141 Karen D. Hoffman Flying Solo: The Aviator and Libertarian Philosophy 165 Paul A. Cantor Art, Sex, and Time in Scorsese’s After Hours 189 Richard Gilmore The Ethical Underpinnings of Kundun 211 Judith Barad Scorsese and the Transcendental 231 R. Barton Palmer Contributors 247 Index 251 Introduction In the introduction to The Philosophy of Neo-Noir (University Press of Ken- tucky, 2007), I noted the conspicuous absence in that volume of the films of Martin Scorsese, who might rightly be regarded as a master neo-noir filmmaker. Indeed, Scorsese is best known for his works centering on the noirish elements of gangsters and/or violence, such as Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Casino (1995), to the point where he’s identified with these types of films in the way that Billy Wilder is often thought of as primarily a maker of screwball comedies (The Seven Year Itch [1955], Some Like It Hot [1959]) or Woody Allen is often seen as the maker of existentialist comedy/dramas (Annie Hall [1977], Manhattan [1979]). But we should remember that Billy Wilder also directed Double Indemnity (1944) and Sunset Boulevard (1950) and that Woody Allen’s oeuvre includes Interiors (1978), Another Woman (1988), and Match Point (2005). The ste- reotyping of Scorsese is equally unjustified since, over his career of some thirty-four years and counting, his films have covered a wide range of topics and themes, from the Dalai Lama in Kundun (1997) and Jesus in The Last Temptation of Christ (1988) to Howard Hughes in The Aviator (2004), social roles and mores in nineteenth-century New York in The Age of Innocence (1993), pool hustling in The Color of Money (1986), and the boxer Jake La Motta in Raging Bull (1980). Indeed, Scorsese’s work hasn’t been limited to narrative feature films, also including documentaries (The Last Waltz [1978], No Direction Home: Bob Dylan [2005]) and music videos (Michael Jackson’s Bad [1987]). As I also noted in the neo-noir introduction, I omitted Scorsese from The Philosophy of Neo-Noir because I planned to devote an entire volume in the Philosophy of Popular Culture series to his films, and the present work is the fulfillment of that promise. The Philosophy of Martin Scorsese investigates the philosophical themes and underpinnings of the films of this master auteur as well as using the movies as a vehicle for exploring and explicating traditional philosophical ideas. It comprises thirteen essays from scholars in both philosophy and film and media studies. The essays are 1 2 Mark T. Conard written in nontechnical language and require no knowledge of philosophy to appreciate or understand. Part 1, “Authenticity, Flourishing, and the Good Life,” begins with “No Safe Haven: Casino, Friendship, and Egoism,” in which Steven M. Sanders uses Scorsese’s film to explore the uneasy relation between egoist ethics, which claims that the only duty one has is to oneself, and friendship, which seems at times to require self-sacrifice. Next, in “God’s Lonely Man: Taxi Driver and the Ethics of Vigilantism,” Aeon J. Skoble investigates the story of the assassin/savior Travis Bickle, wondering when and under what conditions vigilantism is ever justified. In “Goodfellas, Gyges, and the Good Life,” Dean A. Kowalski uses the case of the mobster Henry Hill to examine and evaluate Plato’s claim in the Republic that the immoral, unjust person is necessarily unhappy. Last, in “Mean Streets: Beatitude, Flourishing, and Unhappiness,” I use Scorsese’s first masterpiece to examine different philosophical concep- tions of unhappiness, raising the issue of whether unhappiness is the natural state and condition of human beings. Part 2, “Rationality, Criminality, and the Emotions,” begins with “The Cinema of Madness: Friedrich Nietzsche and the Films of Martin Scorsese,” in which Jerold J. Abrams discusses a prevalent theme in Scorsese’s films: the relation between madness, creativity, and criminality. Next, in “The Age of Innocence: Social Semiotics, Desire, and Constraint,” Deborah Knight explores Scorsese’s adaptation of Edith Wharton’s 1920 novel, in which the characters’ actions are scrutinized by a surrounding social group whose values are dominant and whose decisions will inexorably win out, much as with Scorsese’s gangster characters. In “After Hours: Scorsese on Absurdity,” Jennifer L. McMahon uses Scorsese’s comedy to discuss the existentialist no- tion of absurdity. Last, in “The Pupkin Gambit: Rationality and Irrationality in The King of Comedy,” Richard Greene wonders whether it’s rational to act as Rupert Pupkin does in Scorsese’s film, risking short-term harm to himself and others for possible long-term benefits. Part 3, “Vision, Salvation, and the Transcendental,” opens with “The Last Temptation of Christ and Bringing Out the Dead: Scorsese’s Reluctant Saviors,” in which Karen D. Hoffman discusses the similar experiences of self-sacrifice and temptation of the protagonists of the two films. Next, in “Flying Solo: The Aviator and Libertarian Philosophy,” Paul A. Cantor ar- gues that Scorsese’s Howard Hughes is the kind of visionary entrepreneur extolled by libertarian thinkers. In “Art, Sex, and Time in Scorsese’s After Hours,” Richard Gilmore argues that Scorsese’s film contains important les- sons about our experience of time, our interpersonal relationships, and the power and meaning of art. In “The Ethical Underpinnings of Kundun,” Judith Introduction 3 Barad uses Scorsese’s film about the young Dalai Lama to explore Buddhist ethics—particularly its commitment to nonviolence. Last, in “Scorsese and the Transcendental,” R. Barton Palmer examines Scorsese’s obsession with the spiritual, which pervades not only his European-style art films, such as Kundun and The Last Temptation of Christ, but also his genre projects, like Taxi Driver and Goodfellas. At the heart of this volume lies our deep admiration for Scorsese’s work. We sincerely hope and believe that our analyses of his films will not only enrich and deepen your understanding of them but also introduce you in a richly rewarding fashion to certain philosophical issues and ideas that are well worth considering.