![]() ![]() ![]() ![]() Scorsese’s frequent writing partner Paul Schrader grew up in a no less intense Calvinist environment. Pauline Kael said the most creative American directors of the 1970s (she listed Scorsese, Altman and Coppola) benefitted from being raised within traditional Catholic imagery. We spoke often about Catholicism, which in pre-Vatican II days was a seductive labyrinth of logic, ritual, vision and guilt. Both Scorsese and I had attended Catholic schools and fell easily into the language of religion. Perhaps it was inevitable that my review defended the film against charges of heresy. I was greeted at the door by a security guard. Stopping in New York on the way home, I was directed to a pay phone on Madison Avenue, called the number I was given and followed instructions to the town house where Scorsese was living. I was begged not to tell anyone the title of the movie, or even mention that a print was in England. On vacation in London, I was invited to preview the film at a private screening for my eyes only. ![]()
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