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To generations of film lovers, it seems as if Martin Scorsese has always been with us, as have the cinematic obsessions informing much of his work: The lure of criminality and corruption (Goodfellas), urban alienation (Taxi Driver), and toxic masculinity (Raging Bull). But since his feature debut, Who’s That Knocking At My Door in 1967, Scorsese has also wrestled with his Catholic faith (Silence), changing social mores (Age Of Innocence) and our obsession with celebrity (The King Of Comedy)
The thesis of John Cassavetes’ Minnie and Moskowitz (1971) is that most people are a bit looney. “Normal” is a comforting lie we tell ourselves an implicitly understood charade masking dark secrets or, at best, harmless idiosyncrasies.