Be careful what you wish for Henry: Henry’s journey from mediocrity, through the inferno and into hell.

Paper by Ken Sterling. Viewed on DVD.

Goodfellas was released in 1990 and it is is based on Nicholas Pileggi’s book, “Wiseguy;” a true story about Henry Hill, a low-level mobster in New York during the 1970s and 1980s. The story chronicles the real life rise and fall of Henry Hill and eventually leads to him “ratting” out his best friends and close associates. For Henry, the mob was his family but he would never be a full-fledged member of the Mafia because he wasn’t one hundred percent Sicilian. At the end of the movie, the audience may wonder if only Henry had been a “made guy,” maybe he wouldn’t have fallen so hard and been put in a position where he felt that he had to inform on those who were closest to him for so many years. When analyzing this film, it is important to look at any scenes, which may be pivotal or provide foreshadowing of what lies ahead for Henry and his family. Perhaps one of the most important scenes in the movie is the Copa Club scene and the way it was shot by Scorsese. The content of the scene and the unique style of Scorsese’s cinematography throughout the entire scene are both crucial to understanding the themes of the movie. The story coupled with Scorsese’s use of the steady-cam for one continuous shot provides a direct correlation between the life and times of Henry Hill and the overall theme of Goodfellas. This particular scene is indispensable and it is a turning point for the film because it represents Henry’s journey through the depths of inferno, a glimpse of paradise and then the road into hell.

This paper will examine why this scene is so crucial to the movie and further illuminate why Scorsese’s mise-en-scene techniques for the scene were so important to convey the meaning of the scene. The Copa Club scene is a major turning point in the film, it marks the end of what Henry would later describe as, “The best years of my life” (Pellegi, 141) and the beginning of Henry’s downfall. The Copa Club scene connects the first and second half of the film because it also represents the end of Henry’s carefree childhood and his new commitment to providing for a family. There are only two scenes in the film that could be considered glamorous and they both relate Henry’s relationship with Karen and a part of Henry disappearing. Karen and Henry’s wedding is one of the glamorous scenes and the other scene is the Copa Club. It is no mistake that Scorsese creates these scenes as a juxtaposition to the rest of the film or that he foreshadows the fate that is to plague both Henry and Karen in the not to distant future

Scorsese is known for being very detail oriented, he makes sure that everything he wants the viewer to experience is noticed and there isn’t one item out of place in any of his shots. In the film “Goodfellas,” all of elements of mise-en-scene contribute to the audiences’ emotional connection with the film. In addition to the cinematography, Scorsese’s choice of wardrobe was very appropriate. The storyline spanned four decades (from the mid-50’s to the 80’s) and the costuming in each scene was appropriate to the time, setting and theme of that particular point in the film. The Copa Club scene is so complex and laden with many details and the viewer must appreciate that Scorsese was very purposeful about this scene because it is so crucial to the theme of Henry’s life and the entire film. The wardrobe choices in the Copa Club scene added authenticity, glamor and an interesting slice of how the “wiseguy” life was back in the old days.

Martin Scorsese is a native New Yorker and he chose to film the movie on location in New York because he believed it added authenticity to the movie. Goodfellas follows the Classical Hollywood Narrative format and it would be considered as part of the “realism” genre in film-making. Location is one of the important elements of mise-en-scene and it is crucial to the meaning a viewer will take from the film. “When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting” (Yale, 2). Mise-en-scene is crucial to the meaning of a film. Most of the emotions we feel as audience members come from the style of the film rather than the actual plot elements.

Mise-en-scene is derived from a French term; the translation is “staging or putting on an action or scene.” The first element would be the setting (location, background and props) and it begins with the location scout finding and recommending the most appropriate places to shoot each scene. On a parallel track, the set designer decides if there are adequate existing (“real”) sets or if sets need to be built. It is common for “real” sets to be used for exterior shots and for interior shots to be shot in a studio with sets. Most directors feel this allows more control for lighting, noise and other logistical issue, which may impact the overall quality of the film. Although props are often overlooked, they are essential to the mise-en-scene of every film. Although there are no awards for props, directors such as Martin Scorsese understand the intrinsic value in using authentic props in their movies. Props play a very important role in setting the scene and atmosphere for every scene. In Goodfellas, Scorsese placed every flower, shovel, gun, automobile, and glass and food dish to enhance the viewer’s experience. The more control via mise-en-scene, the more “real” the film appears to the viewer. And in the case of Goodfellas, the mise-en-scene methods used gives the audience a very real glimpse into the life of Henry Hill. The overall design plan and mise-en-scene of Goodfellas provided a very realistic, compelling and autobiographical-documentary experience. Scorsese’s adaptation of the book for the screen and his choices for mise-en-scene provide captivating elements which draw the audience completely into the life of Henry Hill. The mise-en-scene elements of the Copa Club scene are an incredible potpourri of all the elements: the location shots, the setting, the props, the costumes, the lighting and the acting all blend together in an amalgamation of what is the most important scene in the movie.

Scorsese’s framing of most shots (including key shots) in Goodfellas was closed. As can be expected, this was deliberate on Scorsese part; he chose to use these shots for the audience to really experience the entire story without any gaps. The audience did not have to fill in any blanks with their imagination because all the information they needed was provided in the key shots (and all shots for that matter). The framing of the Copa Club scene is varied but could be generally referred to as closed because it is continuous and there is no wondering on the part of the audience. It should be noted the entire scene was shot in one continuous take with a steady-cam; there are no film edits of any kind in this scene. There are a few different types of shots used in the Copa Club scene and further discussion of these camera angles and distances follows below.

The Copa Club scene was filmed in one shot, it begins outside the club as Henry valets his car and it ends with a segue to the next scene of Henry and his crew pulling a heist at the airport. The “walk of life” that Henry takes Karen on begins outside in the fresh night and goes into the underbelly (underworld) of the kitchen and into the dimly lit club. The camera work is mostly done with a medium shot of either OTS (over the shoulder, behind Henry and Karen as they are walking) or POV (point of view, as seen from Henry or Karen’s eyes). We not only see what Henry and Karen see, we also see their facial expressions and reaction. Karen is getting the “back-of-the-house” (insider’s) tour of the club and this is a metaphor for Henry’s life as well. Thematically, this scene is very important, all the way down to the lie Henry tells Karen at the end of the scene when she asks what he does for work and he replies that he is in construction.

Another interesting point to this scene isthat Henry was on the top of his game at this point in his life, he could have been with many different women (and in fact was) but it was important to him to impress Karen. As they walk through each checkpoint, Henry is handing out generous tips and each of the “gatekeepers” greats Henry with affection. Although this scene ends in the club, the soundtrack playing in the background (non-diagectic) continues to the next scene and this is important because it links the two scenes. Right after Henry lies to Karen about working in construction, the next scene reveals to the audience that we know more about Henry than his future wife.

The lighting Scorsese chose to use in every scene of Goodfellas is appropriate to the theme of the scene and the overall theme of the film. Examples are the special lighting techniques used in the opening scene (Henry, Jimmy and Tommy driving in the car with someone in the trunk).

Throughout the entire film, Scorsese used lighting to reflect the mood of the characters and the ambiance of the location (bright lights equal fun place and characters in a good mood, while dark lighting equals angry characters and unhappy places). For the Copa Club scene, the exterior and interior lighting is mostly dark, with two exceptions: the kitchen and the spotlight on Henry Youngman. Of course, this is deliberate and signifies several themes that are occurring during this scene. The kitchen is a metaphor for hell and it features the brightest lighting. Henry Youngman is a metaphor for the simple, fun life and he is on “the other side” of life, earning his living by making people laugh (not by breaking their face or killing them).

Overall, “Goodfellas” has a very unified feel. Scorsese’s various elements of design including the sets, props, costumes, lighting and cinematography created a sense of realism and intrigue for the viewer.

Although there are a few scenes in the movie that glorify the “wiseguy” way of life, most of the film appears to be very real and Scorsese’s filmmaking gives the viewer a sense that not every day is rosy in the life of a “wiseguy.” Henry’s downfall was depicted so eloquently with the use of mise-en-scene by Scorsese. On one hand, Scorsese created the appearance that “the dream” is so real and enticing, yet he also makes great effort to portray the “reality” and make it so accessible to the audience. The dichotomy of Henry’s life is glamorous in the super club with Bobby Vinton on one hand, and on the other hand, Henry could be stuck at home with Karen and kids while there are “exciting” things happening and he is missing out (or is he?). For Henry, once he had a taste of the good life, he could never settle for normal. Henry’s internal conflict really began that fateful night of he and Karen’s first solo date at the Copa Club. It is no mistake that Henny Youngman’s first mistake is the famous line, “Take my wife, please!”

The Copa Club scene relates all the other scenes in the movie into one story, it is the turning point and also the necessary highpoint for Henry and it foreshadows what is to come (Henry’s downfall). The movie is a four-act movie and it follows the classical Hollywood narrative film format. Classical Hollywood narratives feature characters who are goal oriented. A common example of a “private” goal narrative is boy (protagonist) meets girl/romance. The second example of a classical Hollywood narrative is when the protagonist has a “public” goal of achieving something like becoming the President, saving the world or going to an Ivy League college. In the case of Henry, he wanted to be a “wiseguy,” that was his goal. Classical Hollywood narratives tend to follow cause and effect story lines with each scene seguing into the next. For the most part, Scorsese follows this format throughout the film, Henry is the master of his universe and his actions cause the effects he is later riddled with. As with most films that follow this format, Goodfellas has a unified story line and all the outstanding issues are resolved before the end of the film. Although it may not be what Henry wished for, the audience understands what happened and there really are no questions about Henry’s life or future.

Due to the special nature of the cinematography that is rarely done in any movie, the Copa Club scene does not necessarily follow a repetitive pattern. It is a large part of the development of Goodfellas based on the importance of the scene as a pivotal and crucial milestone for Henry and to some degree, Karen. In actuality, both of their lives began to change that night and they both ended up hoping for paradise but getting on a one-way freight train tohell via the inferno.

In conclusion, the Copa Club scene is vital to both the themes and storyline of Goodfellas. Without this scene, there would be no transition between Henry’s rise and fall. Although this scene appears to represent all things good in Henry’s life, it is really a sign that not everything is what it appears. Even a simple detail such as Henry doling out tips to go in the back door of the club, if he really had power or if he was a respected man, he would not have had to tip anyone. Analysis of this scene is crucially important to the interpretation and analysis of Goodfellas, it would not be the same movie nor have the same impact if this scene had ended up on the cutting room floor.

Works Cited:

Barsam, R. & Monahan, D. (2010). Looking at Movies: An Introduction to Film (3rd ed). W.N.Norton & Co: New York, NY

Pileggi, Nicholas. Wiseguy (1985) Simon & Schuster, Inc., New York, NY

Yale University, Film Analysis. (2011) mise-en-scene.” Yale Press: New Haven, CT