Let's Party with Marty: A Martin Scorsese Podcast

This week we're discussing the companion movie for Martin Scorsese's The Color of Money, the Italian comedy Il Sorpasso from 1962. We discuss whether it is really a comedy, how it balances conflicting tones, and whether any art is really new at all.

There's no rules for this podcast, it's After Hours babyyyyyyyy! Joining Sarah & MJ to talk about this Scorsese movie is friend of the show and co-host of "The Bond We Share" podcast, Adam Moffett. We get into our own real-life near-After Hours experiences, discuss the brilliant sight gags in this movie, and talk about why it is one of Scorsese's most underrated - yet easy to rewatch - movies.

We're still on the road to After Hours and talking about another Allan Dwan farcical comedy, 1945's Getting Gertie's Garter. Sarah and MJ chat about why we're bad at using Letterboxd (ironic considering this podcast started from a Letterboxd list!), where this film unfortunately falls apart, and the perils of trying to turn a silent movie into a talkie.

Is money fake? What even is time? Join MJ and Sarah as they ruminate on these big questions while also talking about 1940s farcical comedy, The Inside Story. This is the first of three companion movies for Martin Scorsese's After Hours, so we talk about its connections to that movie, when is the right time to make movies about big events, and the relevance the movie has to today.

This week Sarah and MJ discuss the under-appreciated Martin Scorsese movie, The King of Comedy. We get into the Joker of it all (unfortunately), the skilful way the film flirts with what is real and what isn't, as well as discussing our own fleeting brushes with internet fame via viral tweets.

This week we're on the very short road to Raging Bull with 1963's companion film, Station Six-Sahara. Opinions on it are split between your LPWM co-hosts, but we've got plenty of ideas about how this film could be improved, why it should be an exploitation film, and why we're both very annoyed with Nicole Kidman.

We've finally arrived at Raging Bull, a strong contender for Martin Scorsese's best film and a first time watch for one of your co-hosts! We discuss the incredible performances, Thelma Schoonmaker's impeccable editing, and the brilliant way Scorsese incorporates religious imagery into this boxing movie that isn't really about boxing.

Inching ever closer to Raging Bull, this week we talk about 1964's Gertrud, aka the movie that could've been an email. We talk about the pitfalls of adapting a play into a film — as well as those that manage to pull it off — and the crucial element to making unlikeable characters watchable.

Strap in, the slow journey towards Raging Bull continues, and this week we discuss 1948's Force of Evil. We get into the similarities between this and On the Waterfront as well as some of the takeaways Martin Scorsese had for his own films ... beyond just Raging Bull.

This week, Sarah and MJ begin the long and winding road that leads to Raging Bull with On the Waterfront! They are joined by Matthew Germenis for this super-sized episode where they unpack everything from the location shooting and brilliant performances to the way Scorsese was influenced by this film in several ways, and of course, the perceived apologism for Kazan and Schulberg testifying to the HUAC.

This podcast should be played loud!

This week we're talking about 1978's The Last Waltz, the concert film of The Band's final show directed by Martin Scorsese. We chat about the perils of trying to capture the moments as they happen, the cult that follows this film, and get into our favourite performances from the show.

This week we discuss 1951 Powell & Pressburger movie, The Tales of Hoffmann, chosen by Martin Scorsese as the companion film for The Last Waltz. We get into the film's impressive technical aspects, the other surprising films it influenced in Marty's filmography, plus we chat about the incredible restoration work that went into this film and the pitfalls of using AI to try and do the same job ...

We've moved on from the companion films for New York, New York (or have we?!) with 1957's The Joker is Wild, the film Scorsese has paired with American Boy: A Profile of Steven Prince. We discuss the undeniable talent of Frank Sinatra, how this film deals with trauma and the merits of a film with an unlikeable protagonist.

This week we (finally) arrive at Martin Scorsese's New York, New York, a film that divides opinion, and with moments that divide your co-hosts of Let's Party with Marty as well! We dive into the influences on this film, the many problems with it, as well as the impact it had on films such as La La Land.

We've reached the third and final companion film for New York, New York, 1955's Love Me or Leave Me. We spend a lot of time unpacking the ending of this film and how it compares to some of Martin Scorsese's movie endings, and talk about the merits of complex stories/characters and what they can give us as an audience.