The weird film that saved Scorsese’s career
As a self-professed cinema nerd, the release of "Killers of the Flower Moon" had me eagerly anticipating a cinematic masterpiece. In my quest to revisit Scorsese's works, I stumbled upon a 35mm screening of "After Hours" at Dendy, and what unfolded in the cinema left me in awe. I'd seen this film several times but never with a group, and the laughter echoing through the packed theatre caught me off guard every time. It became abundantly clear that "After Hours" deserves more credit. This film isn't just another Scorsese creation; it's arguably his most pivotal work. Here's why.
The 1970s saw Martin Scorsese rise to prominence with his gritty and violent classics. However, by the '80s, he needed to make a change. New Hollywood was over, and his last film, "The King of Comedy," was unfairly maligned, almost jeopardising his career. Fortunately, that film has finally received its due recognition, partly thanks to "Joker" drawing inspiration from it. But that's beside the point. After Hours marked a pivotal moment in his career, allowing him to rediscover his passion for filmmaking. It wasn't about grandiose storytelling or big budgets; it was about having fun with the art of filmmaking. In his own words, Scorsese confessed, "I had a ball making this movie." The joyous, Red Bull-like energy is palpable on screen, testifying to the liberating power of creativity within constraints.
This film offered a brisk, nimble, and entertaining experience, a far cry from the complex narratives and dark themes of his previous works. It revitalised his career and rekindled his creative fire. For those with a keen eye, it also served as a template for Scorsese's future visual style. The film's use of moving cameras and innovative editing techniques paved the way for masterpieces like "Goodfellas." For instance, the chaotic night in "After Hours" foreshadowed the mesmerizing tracking shots of Henry Hill's life in the mob in Goodfellas. Scorsese's experiments with visual storytelling in "After Hours" set the stage for his later achievements—experiments he wouldn't have had the opportunity to explore if he had dived directly into his Catholic epic, "The Last Temptation of Christ."
After Hours and his next picture, "The Color of Money," served as a one-two punch. The former proved to himself that he still had tricks up his sleeve and that this peculiar business was still fun. The latter proved to the studio that he wasn't a washed-up has-been but could still make them filthy rich. This unconventional path paved the way for his passion project, "The Last Temptation of Christ." These films provided the creative refreshment he needed to tackle his dream project with renewed enthusiasm. It's a shame that the film turned out to be somewhat mediocre.
While Scorsese is renowned for his gritty portrayals of New York City, After Hours took a unique perspective. It's his most lighthearted yet refreshingly different portrayal of the city that never sleeps. This film departs from the dark and violent New York we often associate with Scorsese. Instead, it captures the city's eccentricity, the quirky individuals who inhabit it, and the unpredictable adventures that can unfold in a single night. All I'm saying is that this film features a lynch mob led by a creepy ice cream truck, which you won't find in "Taxi Driver."
Perhaps one of the most surprising aspects of After Hours is that it proved Scorsese didn't always need Robert De Niro by his side to create a compelling and entertaining film. It showcased his versatility as a director and his ability to work with a different ensemble cast. Unfortunately, this lesson didn't stick, as movies with De Niro or DiCaprio still make up a solid 77% of his filmography.
In conclusion, After Hours deserves a more prominent place in Martin Scorsese's filmography, not just as an underrated gem but as a turning point in his career. It rekindled his love for filmmaking, saved his career, and set the stage for his future cinematic achievements. As a cinephile, I couldn't be more thrilled to have revisited this underappreciated masterpiece on the big screen, and I hope that more viewers will discover and celebrate its significance in cinema history. While I don't expect to experience the same crowd reaction I had while watching Killers of the Flower Moon, I know I'll see After Hours fingerprints all over the movie, which is an exciting thought.
