The financial status of the American class system is an grey area to discuss. Like all major political subjects I tend not have a firm stance steering away from the lesser of two evils kind of thinking. Sometimes its better to be direct with your points making the message clearer. As is the case with “The Wolf of Wall Street” which makes no effort to downplay the excessive lifestyle and amorality of the characters with no shades of grey to justified themselves for who they are.
The Wolf of Wall Street is based on the true story of Jordan Belfort rise to a wealthy stockbroker living the high life to his fall involving crime, corruption and the federal government. Cleverly disguised as a black comedy it also sneakily culminates satire. Structurally unmatched it begins with the so call “low point” of Jordan Belfort life before eventually making it big manipulating the stock market. His obsession is far subtle living in a bubble; committing itself to following the special logic on which this world is drawn into a vortex of success and admiring the brilliant strategy Belfort follows. Belfort lives and breathe to make money no matter the legality of his techniques. It’s shown as an easy endeavor rewarding with a fantastic and luxurious lifestyle through Jordan Belfort eyes who lives with no limit to his wealth. Never truly focusing on the consequences that Jordan Belfort scams had on his clients rather focusing on the bigger picture on Belfort personification of American culture legal acceptance and materialism clouding the ideals of the American Dream. Witnessing Belfort strong desires to cling to his excess nature giving a true exposure to how deeply superficial riches has taken over. Not once does it ask nor pops up to Jordan head the question of how much foreclosed houses, starving children, financially corrupt clients, and scams did it take for Belfort to obtain just one object he owns because Belfort has no fun living in the closeness of the real world he was once a part of. Scenes of excess and of criminality are not equally appealing and repulsive – they are almost totally appealing. Hiding nothing with a leading character who has no interest in redeeming himself for his actions. Depicted in a manner that’s true the essence of its character that will serve as a wake up call to reality for some where justice isn’t always served for every wrong.
Martin Scorsese’s forceful, flowing camerawork and electrifying use of music assures the film is never dull. Scorsese plays it bold in this film does not showcase any means of redemption for its lead character. His camera, which by cognitive extension functions less like a camera and more as an external window, reframes, cranes and tracks over Belfort’s equally out-of-it staff and his key executives with so much zest that it appears almost as materialistic as the people it is capturing on negative. Perhaps to counterbalance the mischievously ambivalent attitude towards a fanatically amoral protagonist, Rodrigo Prieto’s matter-of-fact cinematography eschews glossiness and flourishes and is bright without being blinding. The movie doesn’t have a single totemic image that captures the obscene wealth and privilege on display. Rather, the parade of outrageousness continues from the beginning to the end.
Leonardo DiCaprio injects manic intensity and ferociousness to Belfort that at times is simply magnetic, mesmerizing as he thunders like a lion across the screen. As a man whose wild arrogance, immorality and desperate zest for life literally charge him like a battery. In his finest physical performance to date; whether doped to his gourd on Quaaludes, or restraining his body from sexual desire, DiCaprio manipulates his body to silent comedy era levels. Meanwhile his Liotta-like narration has him spitting snake oil with each sentence. Every word is precise, every smile looking to be hiding something. Twice while detailing the intricacies of his schemes, he stops, smiles and distracts us. Jonah Hill’s performance as Donnie Azoff is another great allowing Hill to explore some of his comedic ticks and beats. In Wolf, he relies on his own instincts, and his chemistry with DiCaprio colorful chemistry is so natural that every scene they’re in together bring the best out of the two.
Margot Robbie a ravishing Australian with a Brooklyn accent, delivers a rich and nuanced special performance. Seductive and sexual yet authoritative Robbie is not just the eye candy in Wolf; and it is quite easy for such a sexually based character to be objectified in films, whereas Robbie triggers real emotion of sympathy from the audience towards the end of the movie in various Jordan related scenes. Kyle Chandler, in subtle and resonant acting as the pursuing cop, has a read-between-the-lines philosophical banter with his nemesis. In cinema-noir fashion, they have a well written, battle of wits confrontation on Jordan’s yacht. Rob Reiner as Jordan’s accountant dad, delights us with warmth and humor in some very good scenes. Matthew McConnaughey has a rambunctious, hilarious as Jordan’s cynical, first Wall Street mentor.
The Wolf of Wall Street delivers powerful commentary on American culture in a such a profound and unconventional format. Realism isn’t Scorsese’s goal, what he tries to achieve is to convey how it must feel to live inside this bubble making it feel desirable: a trap Scorsese skillfully plays with and avoids. The more the spiral spins, the more grotesque this world becomes, the more that initial fascination is replaced with unease and ultimately disgust.
10/10
Personafication 