In the pantheon of gangster films, most films explore the life of crime with a magnifying glass, like a laboratory animal. Surprisingly the monolithic structure of films like The Godfather, Bonnie & Clide and The Maltese Falcon, especially if one takes into consideration that the lives of criminals is not exactly slow nor monolithic. Very few films have managed to reflect the speed and anxiety under which criminals should live. One of the few that has made as he stood in the pantheon, this is the portentous Buenos Muchachos. In it the director Martin Scorcese laid hold of his best narrative and visual tricks to tell the genius and fall of Henry Hill, brilliantly played by Ray Liotta. As the film progresses and we see Henry getting where they would not get The Godfather (Don Corleone never accepted that their pimps to get mixed into the world of drugs) the visual pyrotechnics began his splendor. For this moment in history, we have enjoyed the classic "travelings" which we are accustomed Scorcese, plans in which the camera moves while we're getting an idea of what happens in the scene (a technique that uses even in his early films). We also enjoyed a close aesthetic to a video clip that shows us the splendor of the underworld, reinventing the glamor of classic films by one who is more like the vice of a teenager.
However, the use of "Jump-cut" and camera in hand which shows us the real anguish and acceleration by passing Henry. There is a sequence in a cafe in which to reflect the desperation of Henry Hill, Scorsese uses an effect created by none other than Alfred Hitchcock for his film Vertigo. What Scorsese has filmed the scene as a thriller, says much of what the director wants to tell us. Also, the jump-cut are borrowed from the French New Wave. Directors such as Jean-Luc Godard, also sought to convey an idea of emotional instability in their characters. Henry Hill, is Vito Corleone. It is a mob soldier, a petty professional who tries to climb through the ranks. By that his glory is more exaggerated than that of a sponsor.
And hence, their fall is more precipitous. The only way to tell her story was through melodrama version that offers Scorcese. A more controlled version of the film (think Donnie Brasco Mike Newell) had shown little too honest with the character who plays Ray Liotta. The visual pyrotechnics GoodFellas gives the film a level of reading back to the underworld. While films like The Godfather show us the humanity of the world of crime, a film like Goodfellas rather explores the anguish of facing anti-heroes.