It doesn’t matter whether you change the music, the setting or vary the speed of the film. It’s a smart depiction, but after seven or eight similar examples featuring gimmicky, jokey scenes that includes cocaine snorted off ass cracks, Jordan’s right-hand Donnie ( Jonah Hill) whipping out his dick in the middle of a party to beat off to Jordan’s future next wife ( Margot Robbie) and Jordan experimenting with a dominatrix who sodomizes him with a candle, the point is made. Jordan seems to hate his customers for their greed, despite how much of his own greed he is satisfying. Jordan speaks to them of the riches they are bound to gain while giving the phone receiver a stiff quavering middle finger and silently mouthing the words “fuck you!” while his lackeys gather around and snicker.
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All we know of them are their muffled voices on the other side of a telephone lines. The film never seems to consider the victims. There is never a moment where he struggles with his conscience. One cannot even call this man a misanthrope. It’s a moment of stark depravity that has a rather tragic resonance for any sense of pity for these characters.įor much of the film, you follow Jordan at the height of his most unsympathetic. Early in the film, during one party at the office a woman takes center stage to have her long hair shaved off for $10,000, which she plans to spend on breast implants. Greed is the ultimate motivator for both the wolves and the prey. Cocaine and Quaaludes freely flow, as does degradation of humanity, particularly to women. The decadence of after-work parties that include orgies in the office as soon as trading stops are complexly choreographed affairs that will leave you reeling in disgust or delight as horror and humor collide with a reckless sense of tone. All the while, the film gives him nary a redeeming moment to even give one shit about him. He upgrades his car, his house, his boat and even his wife. Over the course of the film, we only watch Belfort grow richer. Soon, Jordan has created an industry using just a telemarketing script and a stable of petty drug dealers eager to learn the language that will sucker almost anyone to give up their money. The investors invest in crap, and Belfort reaps the commission. It doesn’t matter what junk he peddles, they buy it (Belfort has since moved on to become a motivational speaker). The slimy con man reels them in using only words and enthusiasm. “Absolutely not.” He worked his way toward the big fish investors by offering penny stocks in unreal shiny packages of bullshit. Belfort was one of those late ‘80s masters of the universe who eschewed any sense of principle for maximum profit. The film is a satirical affair based on a real human being and his autobiography, also titled The Wolf of Wall Street.
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Instead of feeling moved by the slight crash down to earth for this character, by the end, all I felt was relief that this mean movie had ended. Why did this film have to carry on so long and feature so many monologues by such a despicable character? I just wanted to see this asshole jailed already. For three grueling hours, the Wolf of Wall Street agonizingly drones on toward an inevitable conclusion that just does not come soon enough. His talents are revealed during orgies and phone conversations, not to mention several speeches to his crew. The film follows the rise and fall of coke-snorting, lude-popping, prostitute-fucking, slick-talking king swindler Jordan Belfort (a kinetic, unrelenting Leonardo DiCaprio).
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Might the repetitive Bacchanalia seemed less redundant? Could there have been some actual character development that allowed you to care for the asshole dweebs that constantly rampage across the screen? One can only wonder how much easier to swallow the film might have been in two doses and whether there had been some subtlety lost in cutting out an hour’s worth of material for the endurance test that ultimately saw release. Recently Scorsese’s longtime editor, Thelma Schoonmaker, participated in an interview where she revealed Scorsese had considered releasing the Wolf in two parts ( read the interview). The news in advance of this film was it needed to be cut back from an original four-hour run-time.
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It reveals the travesty of self-indulgence on many levels, and the ultimate victim is the viewer. There’s something rather soulless and harrowing about his latest picture, The Wolf of Wall Street. Sadly, his latest work reveals what can go wrong when such a talent goes unchecked. Despite his status as a big time Hollywood director, Martin Scorsese deserves consideration as an auteur who can still assert his independent ethos to produce work that does not neatly fall into the category of classical Hollywood cinema.