Martin Scorsese has released 22 iconic, or damned near it, films in his day.
And on Christmas, Leo DiCaprio will be heading up number 23, the über-preppy ’90s bender The Wolf of Wall Street, in a wide spectrum of power ties and suiting.
As everything in the world of Scorsese, how he chooses to dress his leading man in each role is meticulously calculated, and even though that man may not vary much, those choices certainly do. So let’s now take a moment to seriously consider the legendary director’s on-screen style over the years.
With the announcement of a hard release date of Christmas Day 2013 for Wolf of Wall Street, the powers that be have also unveiled an all-new theatrical trailer today. Apparently, the original mid-November date caught a minor snag when Scorsese turned in a reel pushing three hours—and the NC-17 envelope—but what remains looks just as exciting: a fever dream of pinstripes, fun shirts, dad jeans, power ties, money bikinis and just about everything else great about ’90s excess.
No one paid much attention to Spud Webb at the 1986 NBA Slam Dunk competition. At 5′7″, he was (and remains) the shortest player ever to compete in the contest. The rest of the field dwarfed him by over a foot. Even Dominique Wilkins, Webb’s teammate and the reigning slam-dunk champion, brushed Spud aside. “I don’t think he’s ever seen me dunk before,” Webb said in a pregame interview. Then he did the following:
An elevator two-handed double-pump dunk, a one-handed off-the-backboard jam, a 360-degree helicopter one-handed dunk, a 180-degree reverse double-pump slam and a 180-degree reverse two-handed strawberry jam from a lob bounce off the floor, the latter two of which received perfect 50-point scores in the final round to bring home the gold.
We have no control over how tall we stand—height is fixed from the start. How we stand, though (or soar, in Mr. Webb’s case) is measured in stature. And stature knows no bounds. With that in mind, we proudly present:
The Oscars are just a few weeks out, and office pools are already filling up. Play it right, and you’ll come away with both a little extra cash and an excuse for watching War Horse. So to make sure you’ve got the edge, we’ve tracked down the house oddsmaker at the Wynn Las Vegas for a rundown of who’s favored. His name is Johnny Avello—and as it turns out, he’s quite the cinephile…
For the second installment in our gift guide, we’re casting a wider net: anything and everything that might help your friends and family live life to the fullest. The goal here is to give something they’d never think to buy, and soon won’t be able to live without. Naturally, we’ve got a few ideas…
We’re not sure if you’ve noticed, but fashion ads have gotten downright artful lately—which means the time is right for some genuine heavy-hitters to enter the fray. The Raging Bull of fragrance ads, if you will…
To that end, CHANEL has enlisted Martin Scorsese to direct his first commercial ever, in honor of their newly unveiled, intensely masculine BLEU DE CHANEL scent. The ad’s full of all Scorsese’s best trademarks, like the Stones licks in the background, Italian film references (in this case, Blow-Up) and a giddy enthusiasm for all things movie. And, as you might expect, it’s one of the cooler ads you’ll see all year. The plot goes something like this: there’s a beautiful woman, a nice-smelling man, an irate press corps, a touch of ginger over citrus zest, a 16mm camera…
Maybe you’d better just see for yourself.
This advance pic comes from Scorcese’s Shutter Island, and provides a nice study in 40s style. The baggy trench, for instance, will make just about anyone look like a fed. And in our experience, the man in the bowtie is usually the bad guy. Spoiler alert?
With sponsored mini-films becoming increasingly popular, it’s worth taking notice when one really works.
Our pick would be *The Key To Reserva*, a short for Friexe Champagne directed by Martin Scorcese and written by the typically meta-textual Ted Griffin, previously responsible for 2001’s *Ocean’s Eleven*. The short has been around for a while, but it didn’t get as much notice as it deserved, and it’s past due for another look.
As you might expect from his AmEx commercials, Scorcese steals the show by playing a slightly more jittery and nonsensical version of himself. As he explains to Griffin (also playing himself), he’s stumbled on three and a half pages of a lost Hitchcock movie called *The Key to Reserva*, and he’s planning of filming it as an act of film preservation. If you’ve ever wondered what three minutes of out-of-context suspense looks like, you’re about to find out.
By now, you’d think someone else would have come along to usurp Keith Richards’ as the archetype of sex, drugs and rock & roll style. As a group, the geriatric juggernaut that is the Rolling Stones seems a bit comic with their never-ending world touring, but while the rest of the band looks like they’ve traded hookers and blow for Depends and Metamucil, Keef keeps rocking on.
He’s not carefully-maintained and certainly not well-preserved, but rather perfectly and stylishly weathered.
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