Film Analysis: Goodfellas (1990)

Director: Martin Scorsese
Genre: Action, Crime, Drama
Time Duration: 2 hours and 26 minutes
Click here to watch the trailer

Greetings, Darklings! I've decided to kick-start my first film analysis with one of my favourite classic crime films of all-time, Goodfellas. There's nothing I love more than an intriguing crime show or movie, for that matter. However, when Martin Scorsese is brought into the equation - nine times out of ten - I'm highly impressed with the way he, as a director, caters for a more complex genre. I’d regard this masterpiece as being one of Scorsese’s finest pieces of work, as controversial as it might be. However, my reasoning as to why I think this will become clear further on in the analysis. 

Before sitting down to watch a film, the viewer will at least want to have a slight idea of what the movie is about in order to instinctively decide whether they will enjoy it or not, thus genre is an important aspect when it comes to the decision making of a movie buff. When we hear Martin Scorsese’s name, we can predict the genre that will be portrayed – an American gangster film which is exactly what Goodfellas is.

The introductory verse, narrated by the main character Henry Hill is effective as an introductory lead - “As far back as I can remember, I always wanted to be a gangster.” This gives the audience an idea that being involved with the mafia isn’t something to be proud of which is common knowledge whereas Henry truly believes that he has been accepted into a life of crime. As you'd expect in a typical gangster film, Goodfellas contains graphic violence which contributes to the representation of how gangsters are portrayed in modern day society. Money, is of course a key aspect in the mafia - it is very powerful and can go as far as controlling a human being. In the first sequence, the characters are dressed in very smart and expensive clothing - they are dressed to impress which can also be said for Scarface and The Godfather. The props in this particular scene play a part in expanding the idea of living a luxurious lifestyle, portrayed through the Pontiac vehicle which is seen near the start of the film. I'd say the car is a significant form of imagery for two reasons. It is an American car which fits into the time period of when Goodfellas was made thus creating a well-detailed and believable setting. Goodfellas is adapted around predictable themes such as violence, weapons, family and relationships.

Henry is the sole character signifying an adaptation process throughout the film. This technique allows us to follow his journey in regards to him being involved with the mafia, “To me it meant being somebody in a neighbourhood that was full of nobodies.” Not only do we have insight into what his childhood was like but we're also able to witness the breaking of trust between ‘friends’ which is down to each individual thriving off of money thus creating alliances which is what you'd expect from the beginning.  

Goodfellas is an example of a non-linear narrative. When we first watch the film, the film has essentially, already begun. It isn't until the film begins to progress where we witness a flashback centralised around the beginning of the story where Henry introduces his thoughts in the introductory lead. After this point, the film begins to adapt in a way where Scorsese no longer views us as an audience. Instead, he allows us to have a deeper insight into how each character is feeling on a personal level which I am in favour of. I find that those types of films are the ones I connect with on a deeper level as I am eternally getting transporting myself into another world whether that's through movie or book format. The film builds up to a scene showing the early stages of Henry's childhood - the scene explains why he wanted to get involved in the mafia in the first place thus encouraging the audience to put themselves in his shoes, from that moment on, the film starts to become in context. The equilibrium or normality is the first part of the film when we find out about Billy and the heist. The resolution to the heist is when Henry rats everyone out after he is caught by the police. What a surprise! Not only does the voice-over get the audience involved in regards to Karen's motives of being sucked into the lifestyle but it also gives us a feel of the characteristics of each individual and shows us their personal thoughts from the beginning to the end which is a good technique to keep the viewer interested over the space of two and a half hours.

Scorsese’s way of using audiovisual codes is rather fruitful as the camera shots are centred and switched around when it comes to the changing of mood. For example, halfway through the film Karen stands up to Henry when he asks if she’s crazy to which she replies “Crazy enough to kill a mafia.” At this point, the camera is higher than the wall resulting in the characters looking small and I guess they could be considered as appearing more vulnerable. Henry then walks towards the camera and looks bigger. This shows dominance and gives the impression that he’s the one withholding power. In the scene where Henry is caught in possession of drugs, the camera switches to a paranoid state of mind. Additionally, this adds to the effect of being placed in that situation whilst unveiling the dirty, unpleasant side of it all. 

Mise-en-scene is placed in shot. When the boys are burying and digging up Billy Batts, it feels as though you've transported to hell. They have no sympathy when it comes to death just as long as it doesn't involve their own. Cleverly enough, the colour red is used to signify violence, blood, gore and the mafia being sinister. There is also a change in cinematography as the film proceeds in reference to the surroundings that represent the 50s era; the old fashioned appliances such as the telephone, the distinctive cars, the upbeat rock n' roll tracks, the type of clothes that are worn - very swell and the men are wearing braces, the hairstyles, the clean streets, the washing lines outside the window, etc. The lighting is quite dark at times, almost shadowy. This gives an old-fashioned feeling to the film thus making the scenario believable.  As the 80s approach, visual elements are reinforced, shown through modern guns, concrete buildings, the cars are all over the place, shades and a change of fashion - high jeans, permed hair, etc. Effectively, this shows the expansion of modernisation over the past thirty years of Henry being involved with the mafia. 

Goodfellas consists of several themes which work together in order to create the predictable mafia lifestyle. One of the themes being family and friendship. Not long into the film, Conway teaches Henry an important pact to “never rat on your friends and always keep your mouth shut.” It comes as no surprise that in order to keep a relationship healthy, there has to be a great deal of trust. However, trust is something that members of the mafia seem to lack in. This is the main theme which always seems to be broken. We are shown a prime example of a lack of trust when Henry goes behind Paulie's back and continues dealing drugs - something that he shouldn't have got himself involved in. 

It is clear to see at the beginning of the film that Henry is the sort of person whom wants to feel as if he belongs in a society regardless of what the people around him think. Being in the mafia means the world to him, not only have people stopped looking down on him but he feels as though he has made friends for life. Everyone is aware that a stereotypical member of the mafia  is of Italian blood so Henry feels left out due to the fact that he was Irish genes running through his blood and is one of the things that he doesn't want to have to dwell over.

Crime and Punishment is also a predominant theme as it wouldn't be a typical gangster film without three men whom think they're indestructible. In this case, this can be said about Henry, DeVito and Conway but things work out for the best when they get caught and are subjected to a life of punishment as a way of paying for the crimes that they have committed time and time again.

The Goodfellas cast are very convincing as each character plays the role tremendously well. Henry (Ray Liotta) is the character whom we connect with the most as the film is centred around how he fits into the mafia through his eyes. Henry wants to avoid conflict deep down but he himself knows that he treats Karen badly. Jimmy ( Robert De Niro) is thought to be a well-mannered and calculated man but it’s not long before he transfers into a state of paranoia, indicating that he is a dangerous man to be associated with. As his paranoia progresses, you're left wondering whether you should be sympathetic towards his state of mind. Tommy (Joe Pesci) becomes a man whom is unstable. This is shown when he shoots himself in the foot due to his short temper and lack of power. Karen Hill is naïve in the beginning. She automatically connects with the audience as she is also an outsider - when we learn that she was well-brought up, it is pitiful to see that her morals have gone down the drain. Lastly, Paulie Cicero is the leader of the fraternity, he is almost like the 'father figure' of the drug business and is the most traditional gangster whom represents symbolism. Straight off the bat, you can tell that a guy like him would appear in The Godfather as he is clean cut and likes to think that the mafia are above the law.

Overall, Goodfellas is a highly captivating film which captures the mafia behind closed doors on a very accurate ground level. The film itself plays its part well in partially ruling out the image of a stereotypical Italian man going around shooting any Tom, Dick and Harry. The characters play their parts tremendously well. Not only do they put everything into perspective but they leave the viewers pondering and questioning every detail.

What are your thoughts regarding Goodfellas? Do you have a favourite Scorsese film? I'd love to hear your opinions!