To this day I'm not so sure what Scorcese actually thinks of a man like the Wolf.
Not so coincidentally, "Taxi Driver" was very much a similar case. It was definitely more of a character study than either a moral repudiation or glorification of Travis Bickle--meaning it's essentially both.
This is reminiscent of what often happens in war films. While the creators are typically known to hold antiwar stances, the films have a proclivity to glorify the subject matter. I believe Anthony Swofford made this observation in his book, "Jarhead," noting how religiously warfighters internalize the themes of such films (Apocalypse Now, Full Metal Jacket, etc.) to very much the opposite effect as presumably intended. This is probably owed to the filmmaker's own empathy for the enthrallment of combat upon its participants. In such a case, I think it's clear that the intent is at odds with the message manifested, but they are both relevant to understanding the value of the work.