While Martin Scorsese has cemented himself as a household name, one of
the director’s closest (and most influential) colleagues is rarely
recognized. Paul Schrader has penned some of Hollywood’s most atmospheric
and touching films—often working as a writer-director duo with
Scorsese.
However, Schrader’s work as a solo writer-director stands on its own. In
fact, starting with 1978’s Blue Collar, Schrader proved his worth in
writing and working behind the camera. Most recently,
Schrader released The Card Counter, a dark look at a blackjack specialist who takes on an unlikely position
as a mentor.
The film draws inspiration from blackjack, which remains one of the most
ubiquitous card and strategy games in North America. Today, the game is
largely played online; the availability of virtual blackjack means
there are multiple variations available
on most gaming sites. However, card counting still occurs on the floor at
in-person casinos.
Schrader’s main character is a conservative card counter, which helps add
atmosphere and nuance to the plot. When the film debuted in November 2021,
it received positive reviews, racking up nominations from a variety of
film critic circles. Oscar Isaac, as card counter William Tell, received
particular acclaim.
Still, the film isn’t likely to go down as one of the director’s top
flicks. Keep reading for the top five projects from the prestigious writer
and director, in either role.
First: Taxi Driver (1976)
While most
credit for Taxi Driver
is offered to director Scorsese, there’s an undeniable ambiance that he
captures when working with Schrader scripts. At the forefront of the movie
is a gritty material exploration and visual dedication common to
Scorsese’s work—but it all falls back on the edgy script and story penned
by Schrader.
Schrader is the one who captures the raw energy of a Gotham-esque New
York City, which was in part informed by the dissolution of his personal
life at the time of writing. Add in an unforgettable anti-hero, and
Schrader has helped create one of Hollywood’s most lasting
characters.
Second: Blue Collar (1978)
Once again, Schrader finds himself at the crossroads of social
commentary, working-class settings, and characters in chaotic situations.
As a director, Schrader imbues this drama with the mundanity of everyday
life—just served with an extra side of risk and self-loathing.
What makes Blue Collar stand the test of time is its moral complexity.
Just like Taxi Driver managed to endear audiences to Robert De Niro’s
disturbed vigilante, Schrader manages to handle a topic like union
corruption with greater nuance, and context than other contemporary
projects.
The main characters are decidedly human—they’re angry, courageous, and
radicalized. Not to mention, the film captured one of Richard Pryor’s most
poignant on-screen performances, in which he plays one of the down-and-out
assembly line workers.
Third: First Reformed (2018)
When it comes to logging in the third-best film from Schrader, Raging
Bull, Light Sleeper, or American Gigolo are all solid options—and they’re
often mentioned in articles that create Schrader rankings. However, First
Reformed is regarded by some critics as Schrader’s masterpiece.
The film is one of few that touches on the writer’s own origin story.
Schrader was raised in a highly conservative family and didn’t see his
first film until he was a young adult. At the time, he wasn’t a fan of
cinema—and wouldn’t be until he dove into mid-century European directors
who influenced his interest in film noir.
First Reformed hits on multiple notes from Schrader’s most formative
years. First, the film explores a small parish in a rural outpost,
harkening back to certain features of his own upbringing. Second, there’s
an undeniable influence from the mid-century European directors that once
stoked Schrader’s interest in film.
Both films American Gigolo and The Card Counter featured endings
reminiscent of Frenchman Robert Bresson’s work, along with influences from
Danish director Carl Dreyer and Russian director Andrei Tarkovsky.
However, First Reformed offers homage to these directors while affirming
Schrader has put his own mark on film noir.