All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
You don't make up for your sins in church. You do it in the streets...
A small-time hood must choose from among love, friendship and the chance to rise within the mob.
This was my first Scorsese joint, and for many years after that knockout viewing on Late-Night TV, it was my personal favorite film of his. It has a reckless, dangerous, and innocent energy that dances through every image, but the eventual tragedy is birthed from the discovery of harsh realities.
It was, and still is, an incredibly sensual work. Every location, from dive bars to pool halls, is lit with the same evocative sense of boyish clumsiness and the furious snap of touchy emotion. Fights and arguments explode without warning or tension. All of a sudden, everyone is punching and kicking, screaming with youthful rage.
By the end, the film is so overwhelming in its singular feistiness that it seems like the world surrounding its characters will collapse. Too bad the only recognition they receive is the sight of drawn curtains in the dead of night.
Happy birthday Marty.
How does Martin Scorsese direct a scene? Beyond the soundtracks, the masculinity, the classic film references, the Catholicism, the violence, the misogyny, and all the what-not critics like to talk about when they don't talk about a movie, what does Scorsese do when he frames a shot?
Charlie sits down after dancing with the stripper, and Michael sits down next to him. Scorsese has an obvious set up between the actors and the camera—they're both staring out toward the camera, Michael sitting slightly in front so he can look back. The scene basically cuts between three shots, one larger exterior shot of both men, and single medium close-ups of each individual. As the two men talk, the shot-reverse shot doesn't…
Everyone has a favorite Scorsese. Goodfellas. Raging Bull. Taxi Driver. Casino. The Departed. The King of Comedy. Those are just a few examples of Scorsese's insanely influential take on cinema. And yet, I feel one is forgotten. Sure, It was arguably as influential as those later masterpieces, but this particular film feels left in the dust.
Mean Streets is that forgotten cinematic gem. This film is like the wild horse that Scorsese hadn't tamed just yet. Crazy, uncontrollable, fascinating. Mean Streets is the ultimate test film for the now master director. But, that doesn't mean it isn't good. Actually, It's my personal favorite of Scorsese's filmography, and I could argue until the end of time that its one of his…
"You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it."
Any flaws that this film might have are all excusable. This is one of the early Martin Scorsese films and what a great one! In Mean Streets we see a raw Martin Scorsese and it's very interesting to identify his technical skills and trademarks even in a much more amateur way. And don't get me wrong when I say amateur, this film has a strong direction and it's a pretty good film! It's very interesting to see what this amazing director has improved through all this years.
This was also the beginning…
'You know what the Queen said? If I had balls, I'd be King.'
There's something very special about Martin Scorsese's early works. You as a viewer do not only watch a story to be happening, you become a part of this story. The same is true with Mean Streets. It's not only a story, it's an experience. It's a raw movie, it's crazy, it's uncontrollable. It's far from perfect, but that's Scorsese's intention. He simply wanted to show the world what he's able to do.
The great thing about Mean Streets is, that it makes a lot out of a little. Although the plot seems a bit incoherent, it's always engrossing. The characters seem to be a bit stereotype, but…
Out of all the Martin Scorsese films I've seen so far; this is the only one I didn't like.
Mean Streets (1973, Martin Scorsese)
Harvey Keitel, Robert De Niro
Library DVD, repeat viewing
#17/76 for 1973, 75% overall
I fall a bit short of loving Mean Streets. It’s exciting to see the full Martin Scorsese style emerge with this movie, and the movie is wholly what he intended, however, the characters and setting don’t connect with me to a great enough extent for me to fully embrace it. The film feels as if it authentically captures its subject, and Scorsese says that this world was very much the world that he envisioned his father and uncle experiencing. It has a bit of an odd structure, too, with almost no mention of Teresa (Amy Robinson) until a long…
My time watching this movie:
25%: feeling slightly guilty for crushing on young(ish) Harvey Keitel
25%: wishing someone actually would bust De Niro's kneecaps, seriously, good job on playing a really annoying character
25%: being amused by Harvey Keitel's constant air of "guys, seriously?"
25%: appreciating the soundtrack
You can see the template here for Scorsese's future output, but in a very raw and almost untamed way in both the direction and acting. It is still a good film however without that polish and confidence of a future Scorsese.
The struggle between trying to be a good Catholic and a mobster played by Harvey Keitel is not only a great premise, but only could have been pulled off by him. The film can get slow and feel like it's meandering, but it's all entertaining.
Mean Streets is a character driven film. The plot is rather thin but the character development is handled very well. Even though this is an earlier Scorsese film, it still has his unique style and it's still more than enough to keep my attention. It did slow down a bit around this one party scene near the end but, for the most part, it was engaging. The performances from Harvey Keitel and Robert De Niro (this was De Niro and Scorsese's first collaboration) were great. Overall, this isn't one of my favorite Scorsese films but it's still pretty damn good.
Started out a bit slow but really grew on me in the second half once the stakes got high. Charlie and Johnny, though not quite as memorable as some later Scorsese characters, were still tragic and lots of fun with some fantastic performances by Keitel and De Niro.
"You don't make up for your sins in church, you do it in the streets, you do it at home. The rest is bullshit and you know it."
A killer soundtrack movie with deep religious themes. If you have any predisposition for deniro drop everything and watch this. His performance is intoxicating every time he gets a scene (which unfortunately is not enough).
Scenes to get excited about:
Character introduction scene
Slow motion bar scene
Final car mayhem scene
I watched this on Region B Blu-Ray.
This is the Scorsese and De Niro film that has escaped me for so long. Finally after months of actually owning the film I've gotten round to watching it. It's not the best film out of the pairs collaboration nor is it in Scorsese's best but it's a great film driven by character, faith and trust.
Robert De Niro and Harvey Keitel are excellent especially the latter who shines with a great portrayal of a man filled with guilt, faith and what he believes to be right. De Niro plays a great wildcard something he hasn't played for some time and he's fantastic as a supporting role, he's Joe Pesci crazy but a lot more mellow as his character in Goodfellas.
The soundtrack is excellent and it's ending is shocking, gritty and gruesome however I just feel the film goes on for perhaps 10 minutes too long.
70 of my favorite movies from the 70s. In some sort of order.
One day, I'll watch The Godfather: Part…