Pseudo-Scorsese

It’s come to my attention that there are discrepancies in the filmography of American director Martin Scorsese. To be precise, certain films attributed to him evidently qualify as pseudirectoria (pseudokinemagraphia? pseudeikonzon?)—that is, instances of unnamed others claiming his name as director of a cinematic artifact, although the evidence suggests otherwise.

Consider three films, released across more than two decades’ time: The Age of Innocence (1993), Kundun (1997), and Silence (2016). Their subject matter, respectively: a historical romantic drama set in the 1870s among the upper class; the life of the Dalai Lama, set in Tibet in the middle of the twentieth century; and the plight of Catholic converts and their missionary priests in seventeenth century Japan.

Are we really supposed to believe that the director responsible for these films is the same man behind the camera—during the same time span!—for Goodfellas (1990), Casino (1995), and The Wolf of Wall Street (2013)? Not to mention Mean Streets (1973), Taxi Driver (1976), and Raging Bull (1980)? It beggars belief.

The visual grammar; the composition and editing; the characters, time periods, settings, and cultures; the dialogue; the feel—it’s all off. Someone else has been posing as Martin Scorsese in plain sight. Any honest comparison between the two groups of films will render the same result; any protest to the contrary is clearly a matter of special pleading.

The upshot: We have a Pseudo-Scorsese on our hands. The time has come to weigh the evidence and thence to sort the “official” or “received” Scorsese oeuvre into those films that are “authentic” or “undisputed” and those that are “inauthentic” or “disputed.” Historical and artistic integrity demands no less.