Movies that are slightly off.
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…
Out of all the Martin Scorsese films I've seen so far; this is the only one I didn't like.
'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…
The start of the collab of de Niro-Scorsese, and a return of Harvey Keitel as the lead.
A rawer, less refined Scorsese. It's fun to see the director honing in on his signature style, but it doesn't reach the heights of some of his latter films. De Niro's performance is really great and it's a different type of character than anything else he's done.
I guess it's safe to say that no one can make a crime film like Scorsese does.
Film #10 out of 50 in Scorsese Summer 2016
"You don't fuck around with the infinite."
Mean streets tosses out a three act structure so it feels like you're just living life with gangsters. With a great culmination of a soundtrack and haunting score Mean streets avoids every cliche in the books and makes it climax conclusionless, leaving a empty real life feel. With incredible chemistry and banter between Harvey and Robert as well as the crew Mean streets sets out to be more than just a mob drama is sets out to be a film about the human system and look on society much like its future successor Goodfellas it succeeds on all levels. To think this movie came out at 73 and in my opinon out does most directors peak level films.
More than 40 years later, Martin Scorsese's breakthrough film feels like a mission statement for his entire body of work. From its iconic opening lines, mixing religion with low-level mafia-related crime, as "Be My Baby" kicks in while Harvey Keitel falls onto his bed in slow motion, Scorsese's style would be crystalised in Mean Streets' opening minute.
Harvey Keitel is magnetic here - possibly his best work in a terribly underrated career - but it's De Niro, in his first collaboration with Scorsese, who steals the show with a wild and electrifying performance as Johnny Boy.
The filmmaking here is certainly raw, with Scorsese taking a few cues from Godard whilst inventing his own cinematic language, it's hard not to be taken with his dynamic and invigorating style.
I wanted to love this movie - it had all the ingredients to be the type of film I can't enough of; great director, great cast, 70's NYC mafia genre. Unfortunately I ended up appreciating it more than enjoying it. Oh, that scene was cleverly shot, Harvey is giving the performance of his life in this single bar shot, this gritty realism must've been refreshing in it's day, and so on. Maybe what killed it for me was the unconventional story telling (in the sense that there's virtually no plot at all) and the characters are highly unlikable.
I probably need to give it a rewatch at some point when I'm over expecting Good Fellas.
What a movie! It was really interesting to watch one of Scorsese's earliest works, right as he was developing his own voice in cinema and laying the groundwork for some of the major themes (guilt, religion, crime, redemption) he would continue to explore in much of his later filmography. I love how gritty and hard-hitting this movie feels, even as almost every scene is drenched in Scorsese's trademark style. Is there anyone better than Marty at incorporating pop music at just the right moment of a scene? To me though, the thing that has always set Scorsese apart from other directors is his complete understanding of character and the personal relationships that affect said character's lives, and in that respect,…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Another year, another personal list. These are my favorites, ranked and sorted.