That his friends now call him, but which is also his “safe word” (“Wolfie”) in sex games with a dominatrix Belfort meets Naomi, the “Duchess of Bay Ridge,” and they are soon living inĪ Manhattan apartment complete with a gay butler, then marry in the Bahamas (Belfort gives his wife a yacht called the Naomi), and settle into life on Long Island’s Gold Coast, Belfort’s appetite forĭrugs and illicit sex not impeded whatsoever.Īttention from outside his circle comes from two directions: first, a profile inĮsquire magazine gives Belfort the moniker the “Wolf of Wall Street,” a name Images out of Moby-Dick, and, crucially, entertain the workers with weekly scenes ofĭebauchery: half-naked marching bands alcohol, drugs, and prostitutes sex in the elevator and exotic pets (boa constrictor,Ĭhimpanzee) on the trading floor. Sets up his own shop, he is making $70,000 a month), we see him reel in customers over the phone, inspire his sales team with
As Belfort’s career and corporate success ramps up (even before he Belfort assembles a team of salesmen from his motley crew of friends: would-be drugĭealers and the like, most notably Donnie Azoff.
Now his selling genius holds him in good stead for, instead of the 1 percent commission made selling blue-chip stocks, hereīrokers earn a 50 percent commission.
But the crash of October 1989 endsīelfort’s first job, and soon he is reduced to working at a penny stock outfit, a “boiler room” operation, Lunches and suggests masturbation as a counter to the cerebral work of selling stocks. Rise to fame, starting with a job where he is taken under the wing of the hedonistic Mark Hanna, who snorts coke at three-martini Money, Belfort tells us, is his real drug, and we then see the bare bones of his The Wolf of Wall Street begins with a mock commercialįor the Stratton Oakmont brokerage that quickly shifts to a dwarf-tossing contest in the firm, followed by a montage of Jordanīelfort’s (Leonardo DiCaprio) life: a sports car, model wife, drugsĪnd prostitutes, drunken helicopter rides. Of the film, then introduce Jameson’s system of thought, his ways of reading film and other cultural objects, and finally,ĭrawing on those ideas, situate Scorsese’s movie in the context of current films on the economic crisis. The answer to that question is this book itself, and by way of introducing its argument, I want to first offer a synopsis Street would seem to be a gimme: what could be more obviously a capitalist film than one about capitalism? On Fredric Jameson’s brand of Marxist theory to criticize Martin Scorsese’s film about Wall
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