The Film Tourist: The Scene That Changes the Entire Meaning of The Wolf of Wall Street

Welcome to our all-new Wisecrack series, The Film Tourist! Join Jared as he talks about the form, style, and technique of our favorite movies — all from WITHIN the scenes that make these films so iconic.

Written by: Tommy Cook
Directed by: Mike Villasuso
Hosted by: Jared Bauer
Edited by: Kim Kruse
Cinematography by: Richie Yau and Drew Moe
Produced by: Jacob S. Salamon and Emily Dunbar

The Film Tourist: The Scene That Changes the Entire Meaning of The Wolf of Wall Street

Sometimes, it’s the details of a film that matter most.

Like… a single shot… a needle drop… — “I see a little silhouette of-“ — a line of dialogue… — “Here’s lookin’ at you, kid.” — a sudden cut…

What seem like insignificant choices often say more in under twenty seconds than other films say in two hours. In this new format, we’ll be studying these seemingly trivial pieces, revealing how even the smallest element can bring layers of meaning to a piece of art.

Welcome to Wisecrack’s THE FILM TOURIST: The Wolf of Wall Street.

“Sell me this pen! Sell me… this pen.”

The closing shot of The Wolf of Wall Street. “This pen works…” Just a simple push-in and crane-up. Well… what if I told you this shot changes the meaning of the entire film?

“This pen works, and I personally love—“

As a client describes ‘the pen’, his voice drowns out and solemn music kicks in. Up to this point, the film has utilized poppy, upbeat hits to underscore the debauchery. “The amnesia phase.” So, why the sudden shift to something more serious and meditative? For most of its three-hour runtime, The Wolf of Wall Street revels in Jordan Belfort’s excess: his yacht, his women, his drugs, his parties — the lifestyle paid for by defrauding investors.

That is, until the FBI circles in, seizing Belfort’s cash and sending him away to prison for four years.

But unlike similar films— where, the corrupt Wall Street broker gets locked up and justice is served — The Wolf of Wall Street is absent any overt moralizing. Belfort’s prison sentence is a cakewalk, and he doesn’t even serve his full sentence. In the end, nothing has changed. Belfort is still selling and the people, well, they’re still buying.

But this is just the tip of the iceberg. The final shot can be interpreted in a number of ways, but here are our three favorites.

One: the final shot holds up a mirror to us, the moviegoers viewing the film. Notice there’s a backlight behind the seminar that evokes a projector shining on the back of an audience. So, what does this mean? Well, it may to easy to lay the blame solely on Jordan for all the moral depravity in The Wolf of Wall Street. “Jordan!” “Jordan, Jordan, listen!” “Jordan? Jordan?” “Jordan!” “Jordan!” “You!” But, perhaps the final shot lays the blame not only on Belfort, but on us, and the culture that allows and encourages his behavior. “My wife might divorce me but, yeah, let’s do it.”

Early on, Belfort says, “Every person you’re on the phone with, they want to get rich and they want to get rich quickly. They all want something for nothing.”

We may feel dignified because we’re not crawling on the ground f**ked up on quaaludes, but truth is, Jordan’s scam wouldn’t work if we didn’t share his dream of getting rich quickly. Wanting something for nothing… We all want to be just like him. Scorsese is essentially calling us out – we’ve just spent three hours partying with Jordan, laughing and reveling in his exploits. It’s no wonder Jordan doesn’t suffer any punishment in the end, because, after all, we revel in everything he does, living vicariously through him, wishing that we could live his life.

Two: do all these people staring intently at one person, hanging on his every word remind you of something? Yeah, we’re gonna go there. Scorsese, a devout catholic, has spent much of his career exploring his faith in films.

Yet, in The Wolf of Wall Street characters worship at the altar of something else: MONEY. The camera holds on these people: each one in focus so we can see their painfully average faces — desperate, plain-looking people looking for meaning; desiring that which can elevate them above their mundane existence.

Is Scorcese cynically likening the transformative power of faith to the transformative power of money? Except The Almighty never promised a million bucks in eight easy steps.

Three: what if by solemnly portraying a crowd that worships Jordan, despite his detestable actions, Scorsese suggests something really sinister? That we actually like being taken advantage of. “Oh, baby! You’re gonna play rough, huh?” French philosopher Jean-Francois Lyotard famously said as much —

“The English unemployed did not become workers to survive, they… enjoyed the hysterical, masochistic, whatever exhaustion it was of hanging on the mines, in the foundries, in the factories, in hell, they enjoyed it… — “Ah! Jesus Christ!”— … enjoyed the mad destruction of their organic bodies… — “I like it! I like it!” — the decomposition of their personal identity, — “You are lower than pond scum.” — … enjoyed the dissolution of their families and villages, and enjoyed the new monstrous anonymity of the suburbs and the pubs in the morning and evening.”

So, could this closing image indicate the voluntary submission of the masses, who not only don’t mind white collar criminals stealing their money, but find a perverse enjoyment in their banal existence under the heel of the Jordan Belforts of the world? This one single shot is emblematic of just how complex The Wolf of Wall Street is. As a true totem of our culture of excess, the film defies easy answers. This format is a bit of a test for us, so, let us know what you think in the comments. And as always, guys, thanks for watching. Peace.

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