Goodfellas Film Analysis

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters

We see various freeze frames, each marking a significant moment in Henry’s life. Whether it be a young Henry being exalted by members of the mob in the courthouse for adhering to Jimmy’s words “Never rat on your friends and always keep your mouth shut” or watching his postman threatened by means of violence, a valuable lesson is learned. The fact that Henry learns from these lessons proves his character has grown and developed, thus justifiably casting Henry as a round character. For the sake of the word count restriction I will only analyze the scene I believe to be most significant to the story. It actually comes in the opening scene where Tommy stabs the still alive, Billy Batts (Frank Vincent), in the trunk of the car. After Tommy and Jimmy finish putting Billy Batts out of his misery in a barbaric fashion, the camera pans in and freezes on Henry’s dismal face as his own voiceover narration says “As far back as I can remember I always wanted to be a gangster”. I feel as if the voice over is used ironically and perhaps Henry felt some type of self-reproach because his bleak facial expression hints that he is fed up with the violent gangster life. It is imperative that Scorsese introduces this as the opening scene, to foreshadow the major turning point in the film. The freeze frame is a hint to the audience that indicates

This is where brilliant editing and cinematography adds a sense of shared experiences that Henry cannot comprehensively convey alone. The time stamps throughout the series of events not only allow audiences to gain a sense of Henry’s frantic pace, but of the time constraint he is under as well. Being equipped with this knowledge helps us feel the pressure Henry does. The fast paced rock music in the background supplements well into the hectic atmosphere Scorsese impressively creates. The series of scenes of Henry’s paranoia makes excellent use of a multitude of elements, specifically when Henry is looking for the helicopter while driving. The utilization shot/reverse shot between Henry and the helicopter efficiently place us in Henry’s head of solely being preoccupied with the helicopter at the moment. The application of jump cuts in the sequential scene, where Henry realizes he may rear end a stopped car, flawlessly captures his startlement and brings audience along for the ride as well. Multiple jump cuts of Henry slamming on the brakes and the change of music amplify the sensation of surprise and bewilderment. This type of cinematography and editing speaks volumes to Henry’s sense of intense paranoia and derangement, but more importantly, it gives audiences the means to empathize with a character through a unique