It's Not Just You, Murray!

This movie is a successful short film, which belongs to Martin Scorsese's early Director career.

The movie use the way of comedy to describe a rise of a gangster in underground world.

The final part of the movie shows a similarity to ending of Frederico Fellini's "8½" .

This cute, inventive student film is Scorsese's second time in the director's chair, and this film is the beginning of his fascination with crime and double-crosses. Like with his brilliant debut, What's A Nice Girl Like You Doing In A Place Like This?, his techniques in generally unfolding the story and his clever cinematographic eye...you know what? I praise too much. I think I'm boring when I praise. I praise Martin Scorsese all the time. Everything he makes turns to gold in my eyes because I think he makes movies the precise way I think they should be made. I love the guy, that's all. There's nothing specific to say pertaining to why I like even his early student short films such as this one. I just think he's the man. If you think he is the man, I would check this one out just to say you saw it and to see the foundations of his ingenious later work.

It's Not Just You, Murray! (1964)

*** (out of 4)

Martin Scorsese's second short is a nice homage to the gangster pictures from Warner. A middle aged gangster looks back over his life from the start of his career to the present. If you're a fan of the Warner gangster pictures then you'll enjoy this short film with all the references to those earlier pictures.

What's a Nice Girl Like You Doing in a Place Like This? (1963)

** (out of 4)

First film from Martin Scorsese about a writer who buys a painting and soon his obsession with it leads to writers block. There's not too much going on here but I guess that's to be expected with a student film. The camera-work and editing are nice.

I attend NYU, and was lucky to be shown a print of this short. The movie is entirely innovative, and does have some of Scorsese's trademark themes, such as crime and, of course, his mother. The story centers around a man and all the horrible things his friend Murrary does to him.

This movie is, however, uncharacteristically funny for a Scorsese film. It is very similar to an early Woody Allen movie, such as Bananas, in that regard. It also contains some nods to avant garde cinema, such as Goddard or Fellini, especially in the last scene.

All in all, a fabulous little movie that shows inclinations of things to come from Scorsese~

Ira Rubin plays Murray, who at the start of the film basically all about him- with an amusingly self-conscious camera (like a mockumentary of sorts)- he's dressed up extra nice, showing off his wares, and it's pretty clear he's a gangster. That cleared up, he tells his story in a free-form way in the narration skipping and scatting over time, including his good, good friend Joe (San De Fazio, funny in a straight-forward way), and his sting in making Gin. But then he goes to jail, meets his nurse-wife, makes a good gig doing musicals (Love is a Gazelle being the big hit, the funniest part of the film for me), and then finally it all collides into, what else, an 8 1/2 homage. Scorsese and co-writer Mardik Martin have something here that is genuinely clever, as it goes through various forms of comedy, all set to a very keen, specific rhythm.

And there are so many riffs and styles that it all somehow comes together through Scorsese's professional style of shooting. This isn't amateur hour here. Sometimes we get the physical comedy (the police raid), or just a wacky spoof or send-up (the musical sequences, quite ingenious overall), lampooning the movie-making process itself ("hey, sound-guy, turn down the sound", Murray says in one scene when Joe wants to talk private with him), and things of family (Scorsese's mom, of course, serving spaghetti to his son even through the gate in jail) and culture (gas masks in Jersey, ho-ho). All in all, it fills its time very well, with a style of comedy that almost reminded me of a lighter, though still quite witty and off-the-wall, version of the humor that would come in After Hours. Rubin is also very good as the title character, smarmy, self-satisfied, and charming in a sleazy way that Scorsese probably relates to from people in his neighborhood.

Plenty of film-making gusto to go with the laughs, this is a really cool little short film that I was very happy to seek out- even if this and his other NYU short film aren't as great as some of his later shorts like Big Shave and American Boy.