Raging Bull is mostly opera, Taxi Driver has an amazing jazz-orchestral score by Bernard Herrmann (the great composer's final work) and Kundun (" I liked it!") features a symphonic swirl from modern composer Philip Glass. There's actually precious little rock in The Irishman. The backbeat drummin' and wailin' guitars the likes of which you'll hear on New York's Q104.3 (which we have no doubt is Marty's go-to in the shower) are the the soundtrack to Scorsese's cinematic oeuvre. Over the course of Scorsese's long career, plenty of the songs that define his best-loved films' most memorable scenes have become what we today call classic rock. I don't know anything about his private life or what kind of weird mysticism he practices to stay so creative and energetic - it could still be 1970s-style sex and drugs, or it could just be recharging in a donut pool floatie - but one thing is clear: Marty's cinematic virility is thanks, at least in part, to the restorative power of rock and roll! He doesn't just tell you a story with his movies he grabs you by the neck and throws you in, and as his latest film The Irishman shows, he's still got it. Martin Scorsese remains, at nearly 77 years of age, among the most vibrant, propulsive and gripping filmmakers working.
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