A working-class New York kid, Belfort enthusiastically embraced the cutthroat Wall Street ethos in his early 20s and eventually formed a respectable-sounding company, Stratton Oakmont, featuring a boiler room ethos among employees that was thoroughly drilled in their leader’s take-no-prisoners sales approach. Without a doubt, Paramount’s sybaritic, three-hour Christmas Day release will divide audiences, but the now five-film DiCaprio-Scorsese collaboration should continue to yield pretty strong returns commercially.Īlthough never the household name he’ll now become with a big movie made about him, Jordan Belfort was nonetheless emblematic of the unrestrained financial shenanigans of the final years of the American century, when the idea of any consequences for lid-off monetary opportunism seemed unthinkable (it’s quite likely that Wolf could be a giant hit in China, Russia and other markets where the spectacle of American irresponsibility will be most appreciated). DeMille, while the hopped-up visuals, editing and music feel like the stylistic equivalent of doubling up coke and Viagra. At the same time, the dramatic strategy of titilating an audience with salacious behavior for 90 percent of the time, only to deliver a wages-of-sin message at the end, is older than Cecil B.
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