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Jonathan Lack’s “The Wolf of Wall Street” Dons a Wide Collar

In response to Jonathan Lack’s 3508‑word review of The Wolf of Wall Street on We Got This Covered

By ,

What it lacks (yes, intended) in broad perspective Jonathan Lack’s The Wolf of Wall Street compensates richly (yep, intended, again) with comparative understanding of crime drama’s inherent foolishness.

Unlike other media (TV comes to mind), and, indeed, cinematic genres, the ambiguity of morality---and its imperfect external expression in laws---is, here, given free reign in a tour de force of insights into this essentially grandiose and, therefore, American expressionistic canvas that is the movie screen.  

With such incisive mirroring of human frailties and foibles, one is put in mind by Lack’s descriptive breadth of the infamously axiomatic summation (by John Huston as Noah Cross in Chinatown): “Given the right circumstances, Mr. Gittes, people are capable of… … anything!

All the more surprising is this in view of Lack’s confession at the outset that he is an devoted accolyte of Scorcese’s 21st century output.

 He overcomes this bias with that rarest of contemplative correlations of quantity vis a vis quality: a shorter than three hour film would have robbed (final pun) the project’s experimentation of its richness: “The nonessential is absolutely essential in a narrative such as this, where excess is everything & boundaries are

meaningless… ….”

Perhaps most persuasive, however, is Lack’s The Wolf of Wall Street  ‘s supple marriage of societal angst via popular music and popular outrage---remember the 60s?  Here, Lack lacks for nothing, save maybe a link to


Quality of Writing Quality of Argument Spoiler Avoidance Presentation