TABLE OF CONTENTS

PRINT January 1991

THE CAVE

Martin Scorsese’s Betrayals

EVERY FORM OF BETRAYAL is possible for Martin Scorsese. Obsessed with betrayal in The Last Temptation of Christ, 1988, the film in which he gives vent to his religious feelings and his Catholic origins, Scorsese completely develops “l’affaire Judas” (as Thierry Jousse calls it in Cahiers du Cinéma, September 1990) in GoodFellas, 1990. Stylistic decisions also clearly make betrayal an aspect of Made in Milan, 1990, Scorsese’s documentary about the Italian fashion designer Giorgio Armani, and it is the very subject of his current project, a remake of Cape Fear (the 1962 film directed by J. Lee Thompson, made from the novel The Executioners by John D. MacDonald).

This betrayal takes place, first of all, in cinematic terms, specifically in its most beloved and classical form, for Scorsese has shown himself to be freer in his most recent films than in many of his earlier projects, both in his

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