![]() ![]() I had the same issue, I think, as you did with the movie, trying to understand what exactly is going on in that cryptic last scene. So, when he says "It was you, Charlie," we, as an audience, may notice the irony, because he's the real one that ruined his career, he's the one that made himself into a bum.Īnother testament to the prowess of Martin Scorsese, only the best of the best can wrap a metacinematic moment into a conclusion and a twist of irony. Whereas Brando speaks to Rod Steiger in his scene, De Niro is speaking to himself. His "brother," the "Charlie" of his monologue, is the man in the mirror that he's speaking to, himself. And in some ways, it's true, as Joe Pesci's character does eventually abandon him.īut, what makes this ending so magnificent is, is Scorsese shows us visually, through the device of the mirror, that La Motta is his own worse enemy. He speaks the lines from "On the Waterfront," because the foolish character of La Motta does truly believe that he is like Terry Malloy, that he, too, was slighted by his own brother, and feels resentment for that. It does, in many ways, work to signify the failed relationship between La Motta and his brother. ![]()
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