The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.As a lifelong gambler who has crossed paths with a few fringe types portrayed in the film, I'm well aware of the story, the culture, and the ambiance of the Tangiers, the fictional casino placed in the control of Sam 'Ace' Rothstein (Robert Deniro). Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. Casino demonstrates highly varied, multivalent relationships between musical form and film form. This article offers a close analysis of Scorsese acting as composer-crafting Casino’s compiled score in the manner of a DJ-and, in reciprocal fashion, editing film images and narrative to recorded music. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours.

Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings.

Casino 1995 article