'The Wolf of Wall Street' Movie Review: An Excessively Enthralling Masterpiece

Despite what his last film "Hugo" or the 2006 Oscar winner "The Departed" might indicate, director Martin Scorsese has never been a classical director in any sense. His narratives are often sprawling and unwieldy in design and the style is often filled with its own sense of instability and craze. Hysteria might often be a term to describe some of the director's past efforts. However, his latest work "The Wolf of Wall Street" transcends even Scorsese's wildest work as it seeks to depict a world that is defined by outrage, debauchery, excess and downright nihilism.

"Wolf" is based on the true story of Jordan Belfort, a stock broker who learns the easy (and illegal) way to making millions. Scorsese, along with leading man Leonardo DiCaprio, simply carve out the winding path of the consequences for Belfort's actions.

The plot description is so bare bones simply because it is nearly impossible to write a truly comprehensive narration of all that is included in the film. Monkeys, lions, prostitutes, exploding planes, lots of drugs, the use of the "F" word in nearly every sentence (and there is a LOT of talking in this film), and sea storms are littered throughout its three hour running time, some without any discernible logic. The entire world at times seems like one massive hallucination that has popped into Belfort's mind during one of his many trips. At one point (one of the real treats in the movie), Belfort loses his motor skills off a drug that he has tried for the very first time. He crawls out of the country club and rolls down a set of stairs before finding his way into his car; then he manages to make it home safely... or so we are told. Moments later, it is revealed that this was far from the case. The car is in pieces. This device, which uses a flashback to clarify Belfort's previous misinformation, is used throughout the film and only adds to the constant fluctuation of perspective. Belfort proves himself to be a misleading narrator a numerous junctures in the film, making one ultimately question whether any of the "clarifications" are themselves fabrications of Jordan's mind. Of course, since this is based on a true account (and that of an excessive personality like Belfort), Scorsese seems to be playing around with larger-than-life persona of his main character. Jordan is a salesman (or fraud) by profession and it is ultimately his job to pull in the viewer and make him see his side.

Making the viewer buy into Jordan's story is made easy by the terrific performance from DiCaprio. The famed actor has always been known for his versatility and charming personality. The actor makes no mistake here in utilizing every ounce of his charisma in arguably his greatest performance to date. Belfort is undoubtedly a character that anyone could easily hate. He is a thief. He cheats on his two wives. He is an addict. And he seems to have no real morals (though the latter part of the film does do its best to humanize him). But DiCaprio manages to pull the viewer in with his nonchalant persona that exudes confidence and friendliness; as the film opens the viewer can't help but love the guy. And even as he continually goes down the wrong path, DiCaprio's effervescence keeps the viewer engaged and interested.

DiCaprio's charm is not the only trait on display here as the actor is pushed to the limits like never before. Physically, the actor is all over the place. At one point, he manages to contort his face in a rather uncomfortable way as his character reaches his high; DiCaprio's face is completely unrecognizable. He gives a rally speech to his troops in another moment that would make anyone want to shake his hand; late in the film he gives a more emotional speech that creates empathy in the viewer for him. In this particular scene, DiCaprio taps into the character's vulnerability as he speaks directly to another character to vouch for his moral integrity; the cynic would certainly question whether this is just another tactic, but it is likely that some people will be so involved with the character that they will be willing to give him some support despite his otherwise disagreeable behavior. As the film develops, DiCaprio manages to unhinge the character more and more to the point that he looks worn and destroyed at certain points; this is not a far cry from his equally potent performance as Howard Hughes in Scorsese's "The Aviator" in which the character undergoes a similar emotional arc.

The remainder of the supporting cast is up to task. Jonah Hill plays Donnie Azoff, the Robin to Belfort's Batman. In some ways, Hill seems to build off DiCaprio's own unpredictable behavior, but he adds his trademark awkwardness to the proceedings. One particular scene showcases him masturbating in public; his wide eyes are unbearably hilarious. Australian actress Margot Robbie plays Belfort's wife Naomi with an often exaggerated Jersey accent that actually suits the storytelling quite well. She also manages some tremendously seductive moments throughout the film, including one scene in the child's bedroom that is quite unforgettable. Matthew McConaughey's brief appearance early on in the film is just as unforgettable, particularly while he hums and pounds his chest in what will eventually be the animalistic anthem for greed; when the anthem reappears later on the film, one character questions whether he is in a jungle.

As you might have guessed, the film's style is excessive in every possible way. In fact, at times it seems as if Scorsese is experimenting with every film technique he can get his hands on. The film opens with a commercial for Stratton Oakmont that comes right after the logos for the production companies materialize on-screen. The viewer initially thinks that this is some other logo, making the ensuing commercial rather jarring. The commercial itself immediately tells the viewer that this film plans to pull no punches as it shows a lion prowling about an office building; the surreal quality of this image perfectly sets up the otherworldliness of the rest of the film.

Moments later, the viewer is listening to a voiceover from Belfort himself; but Scorsese immediately undermines expectations by showing Belfort talking directly to the camera. It is hard not to feel overwhelmed at this point but Scorsese simply keeps on pushing the limits; the viewer almost feels as if a bubble were about to burst (pun is definitely intended considering the context of the film). Within minutes, the camera is uncomfortably erratic with blurriness and instability as Belfort tries to fly a helicopter; the cinematography is so chaotic that one cannot help but notice that the effect was exaggerated by some editing filter. Still-photographs are interspersed throughout the narrative when necessary; Belfort tries to sell the value of a small company at one point and Scorsese and Editor Thelma Schoonmaker throw in a quick, jarring still image of the company. Commercials in 4x3 aspect ratio are thrown about when necessary. At one point, characters seemingly communicate toward one another telepathically. A scene that features the near-death of one character is delivered with comic effect; a devastating storm is just as hilarious despite the potentially tragic consequences. The final image of the film is that of an audience watching Belfort work his sales magic; is Scorsese reminding the viewer of his/her position in this film? Is he making a massive joke about the entire film and how the viewer has just bought into this story as easily as the audience in the film's story has bought into the character's charming maneuvers? Or is this attempt to analyze the film just an extension of the movie's seeming absurdity?

The three-hour running time says it all. The film is excessive in every possible way, but a true treat for those will to accept Scorsese's epic on his terms. The director does not pull any punches and his terrific cast does everything to take the viewer on an unforgettable journey. Easily one of the best film's the cinematic legend has made in the last two decades.