Goodfellas: BFI Film Classics

Co-director of South West Silents James Harrison reviews Dana Polan's Goodfellas, the latest edition of the BFI Film Classic series (published by Bloomsbury). publication Goodfellas by Dana Polan as part of the BFI Film Classics series. Plus a chance to win a copy!

“As far back as I remember, I always wanted to write a book about Goodfellas.”

Thankfully for me, and for anyone who would’ve ended up reading it, Dana Polan's Goodfellas has saved everyone the trouble.

And I am happy to say, this, which is part of the BFI Classics (with thanks to Bloomsbury), is the perfect book to celebrate one of Martin Scorsese’s great (and there are quite a few) masterpieces.

From the outset, Dana Polan does cover the usual subjects that a book about a film like Goodfellas should cover. The characteristics of a Scorsese film like 1990's Goodfellas (let’s throw in Casino (1995), The Departed (2006) and The Irishman (2019) in here as well) are all mentioned and discussed, the use of the freezeframes, the use of contemporary music, all those hallmarks of a Scorsese for which we all love. Of course, issues of continuity within certain Goodfellas’ scenes are also discussed. And what is great, as many Scorsese fans will know (and cinephiles in general), the issue of continuity really should not be an issue. The most important aspect is the magic of editing. The magic of cinema. Polan does a fine job in explaining the reason for such obvious traits thanks a quote from Thelma Schoonmaker involving the work of the likes of Michael Powell and Emeric Pressburger.

What makes this BFI Classics release another interesting read is that Polan pulls in the rest of the ‘Scorsese-inverse’ into his book and connects them to Goodfellas in one way or another. Yes, Scorsese’s other crime films get a mention of course. But others, one which you wouldn’t usually consider connecting to a film like Goodfellas make an appearance. The likes of Hugo (2011) are mentioned in the text, Nick Nolte’s artist character in New York Stories (1989) is another, as well as The Age of Innocence (1993).

Just to add, it’s worth noting that when it comes to the use of the phrase ‘Scorsese-inverse’, that is very much a term I have just made up for the use of this review. Happy to say Dana Polan does not use such a term in his book at all. It was very much a moment, for me, emphasis the whole filmic world of Scorsese which are highlighted in the book. I won’t be using it again.

Understandably the book also looks back at the original text which gave birth to the film as well. Nicholas Pileggi’s 1985 Wiseguy, a book I highly recommend in itself, is covered but mainly to compare what was in and what was left out of the adapted screenplay film. There is no mention of Pileggi’s relationship or background to the real Henry Hill here, but it doesn’t matter. You can read all about Pileggi’s early work on the book in the revised edition of Wiseguy; which I strongly recommend. This is a book about the film after all, and Dana Polan’s text moves on from a few lines about Wiseguy, to concentrate on the many drafts which were made from the initial draft and to the film’s final version. A three-year difference, Polan points out, between first draft and the film’s release.

And there is more in the book about life after the film as well. Polan mentions the many influences which Goodfellas had on future films as well as television programmes (The Simpsons, The Studio) is great fun to read. Even Henry Hill’s ‘The Wiseguy Cookbook: My Favorite Recipes from My Life as a Goodfella to Cooking on the Run’ gets a mention; and believe me, you will be surprised how good Hill’s cooking was. In fact, this BFI Classics release can most certainly sit proudly alongside the likes of Pileggi’s Wiseguy, Glenn Kenny’s Made Men: The Story of Goodfellas (also credited in the book) and the mentioned Henry Hill cookbook. As always with the BFI Classics series it’s a perfect book to get for that cinephile has almost everything; it is a perfect book to have under that Christmas tree; especially when it is “the most expensive tree they had”.

Dana Polan’s BFI Classics Goodfellas is a precise, and most importantly of all, just like Martin Scorsese’s film itself, very entertaining. Go and get yourselves a copy.

Thanks to the Bloomsbury team we have a brand new copy of Goodfellas by Dana Polan up for grabs; just send us your answer to the question below via our contact page by midnight on Sunday 8th November 2026 to be in with a chance. Good Luck!

Question: Martin Scorsese's Hugo (2011) is set in Paris and inviolves the later life of which French film pioneer?