Every film from Roger Ebert's "Great Movies" essays.
You don't make up for your sins in church. You do it in the streets...
Two-time Academy Award-winner Robert De Niro ("GoodFellas," "The Godfather, Part II") stars in Martin Scorsese's ("Raging Bull," "The Age of Innocence") drama of young men coming to manhood by the code of New York's Little Italy. A harrowing, intense, and grueling dramatic experience -- brilliantly acted and directed. Also starring Academy Award-nominee Harvey Keitel ("Pulp Fiction," "The Piano") and future producer Amy Robinson ("After Hours," "Running on Empty"). Inducted into the Library of Congress National Film Registry. Recently selected by the prestigious American Film Institute as one of the 400 greatest American films of all time. Leonard Maltin praises this as the "technically dazzling film that put director Scorsese on the map... and deservedly so," giving it his highest rating of "****" (four stars).
"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…
As I make my way through Martin Scorsese's filmography it's been nice seeing how he grew as a film maker.
Mean Streets is raw and rough around the edges. But from the beginning until the end it got so much better as every minute passed.
The bland story line of a group of thugs walking around "Little Italy" collecting owed money wasn't enough for me. At least not the first hour anyway.
What made the film for me was the performances from DeNiro and Keitel and the energy that affected the story as a whole.
Overall. I'm glad I finally watched Mean Streets purely to see where Scorsese started, knowing how important he is now in film.
Out of all the Martin Scorsese films I've seen so far; this is the only one I didn't like.
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…
I'm not sure why I've never seen this, but here I am watching Mean Streets for the first time.
The first half of the film is rather redundant in its narrative while also lacking a bit in the cinematography department. It's just a group of small-time thugs or such walking around Little Italy trying to collect money, or they owe money, or they talk about other people owing money - in short, every single person owes money to someone and, honestly, it's all rather boring.
But then something happens, there seems to be a dramatic shift in the film, not only in the narrative but also its execution, plus the performances. Everything suddenly ramps up, especially De Niro. De Niro…
I defer to Kehr: "Martin Scorsese's intrusive insistence on his abstract, metaphysical theme—the possibility of modern sainthood—marks this 1973 film, his first to attract critical notice, as still somewhat immature, yet the acting and editing have such an original, tumultuous force that the picture is completely gripping."
P.S. One thing I've always loved is the way De Niro's character moves through space; he's "disrespectfully" vertical, jumping up on pool tables tables and couches. The other characters (esp. Keitel) stay respectfully horizontal; even during fistfights, they continue to obey the basic rules of how people are supposed to move around a room.
Mean Streets > Breathless
Mean Streets was Martin Scorsese’s breakout film that also established a lot of his themes and techniques that he’s used in all of his films. It’s still a powerful film that has a breathless energy with a wide range of shots and styles incorporated in. The French New Wave is a strong influence and it is combined with the “method” acting of Harvey Keitel and Robert De Niro to create a loosely plotted portrait of men in Little Italy struggling to find out who they are. It’s filled with memorable scenes and performances and was a major influence on many filmmakers.
Mean Streets is a baby Scorsese film. It's just his 3rd feature length film and it is decent as a film on its own, but by comparing it to his later work there is really not much special about it. New York, more specifically Little Italy, is portrayed as gritty and realistic. Harvey Keitel and Robert De Niro churn out mesmerizing performances as usual.
There's nothing too brilliant about the plot but the symbolism and religious elements are what save it from being a drab bore. The conflict between religion (Catholicism) and the gang lifestyle was not a new concept in 1973, but it was executed brilliantly. When the church failed to offer Charlie salvation he decided to take self-sacrifice…
Not really the polar opposite of THE GODFATHER, but more of a parallel universe, with a take on the mafia from the ground up, where disputes are often solved with a drink and much less is at stake. Without any criminal empire to control or caporegimes or soldiers to keep in line, the characters here are free to just drink, eat, and hang out. That's basically what this is, a mafia hang-out movie, with very little forward momentum, but fascinating characters to keep you company for the duration. Particularly true for perpetual fuckup De Niro, who inexplicably has both friends and people sticking their neck out for him, despite his unwillingness to cooperate. In Coppola and Puzo's world, a character…
Marty Scorsese's debut, and while he would go on to make far greater films, there's a certain loose, raggedy "hangout" quality to this movie that his later films would feature less and less of (actually, The Wolf Of Wall Street kind of retains this level). When Charlie is at a movie theatre towards the end of the film we see two film posters for Point Blank and Husbands- while clearly intentional nods to two movies Scorsese loves, they serve as great references point for this film and his career to come. The dark noir world of Point Blank meets the gabb-filled masculine insecurities of Husbands.
It's definitely a first film- but it's definitely a great one too, and unique in…
Um dos primeiros trabalhos de Martin Scorsese, “Caminhos perigosos” não anuncia ainda o cineasta que traria tantos filmes indispensáveis já a partir dos anos 70, como, por exemplo, “Taxi Driver”. Embora tenhamos Harvey Keitel e Robert De Niro em boas atuações, trata-se de um filme excessivamente disperso, sem foco no roteiro e com uma necessidade de mostrar os movimentos de câmera que tornariam o cineasta conhecido também, mas sem a mesma agilidade, pois não acompanhados pela narrativa. Uma das qualidades de Scorsese é atrair o espectador para dentro da trama; “Caminhos perigosos” não parece ter este atrativo e dá a impressão de ter o dobro da duração que realmente tem.
Scorsese walks out of a theater, pulling cinema out the door with him and spilling it onto the streets. Whilst not his debut feature-length, it represents his first notable and distinctive work, a backfiring firework of raw, inventive cinema verite. Highly influential, this is vibrant and believable urban Americana.
All the imperfections of a prototype, but still a dynamic early example of the energetic brilliance and fun authenticity of Scorsese, as well as providing the breakout roles for De Niro & Keitel. Keitel is most impressive here in one of his signature roles, whereas De Niro comparatively is basically flirting with the lens, despite his titanic talent. However, despite a powerful early glimpse into these acting giants, it is the scene-stealing…
Somewhat disappointing. Though I wish Scorsese had made more films with Harvey Keitel.
Brilliant performances by DeNiro and Harvey Keitel. There is no story; the film is just about daily life in Little Italy.
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game