All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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).
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.
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…
Of all the character's in Martin Scorsese's first masterpiece Mean Streets, the most important is the streets of Little Italy. The streets are not mean, they are made mean by the greedy hoodlums that reside on such roads. De Niro steals the show as a debt-heavy, trigger-happy hoodlum Jonny Boy. Harvey Kietel's duty as a conflicted man between mob and religion is good too. Scorsese's use of familiar locations, color, and music work beautifully. It's a wonderful precursor to GoodFellas.
Maybe someday I will watch this and GoodFellas back-to-back. That wouldn't be bad.
EDIT: My grammar here blows. Oh well.
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.
So Martin Scorsese is mortal. Though Shutter Island was a good clue.
This film had all the ingredients for a classic and with Scorsese at the helm it sounded like a sure thing. Adding the talents of Harvey Keitel and Robert De Niro certainly helped sell this one to audiences and critics alike. However, I wasn't that impressed at all. In fact, I was pretty bored for the duration of the film. Yes, I didn't like a Scorsese film and I know that's cinematic blasphemy. Usually, I can expect great things from such talents, but this film really let me down.
Now don't put me in the Scorsese haters camp when he's made some of my all time favorites such…
I really enjoyed re-visiting this. Grungy and stylish, rooted in natural, organic performances. Charlie questioning racism, the church, cultural traditions are the core of what makes this possibly my favorite Scorsese. Goodfellas has the kinetic energy. However, Mean Streets has a raw unfiltered core rooted from a singular viewpoint.
Finally resolved to get it off my list of shame after reading about it in Easy Riders, Raging Bulls. Although the plot meanders quite a bit (the film really is more about the world of Little Italy than Charlie or Johnny Boy), there's a great amount of depth and realism to the world these characters inhabit. It's definitely more European than any other Scorsese I've seen (reflected in the fact that Fellini declared it the best American film of the past 10 years on release), and it's fun to see him lay the groundwork for what would become the definitive genre he operates in. The pool hall scene in particular is a massive thrill.
The most Scorsese movie I've ever seen. And the credits made the thing so meta I couldn't help but bump it up half a star
Mean Streets is often hailed as one of the greatest independent films ever made as well as director Scorsese's first masterpiece. While watching it, I could totally see the ways in which this film has had a widespread influence over not just future Scorsese efforts, but film as a whole. Despite this, as a stand alone piece, I have quite mixed feelings about it. The story revolves around Charlie (a fresh-faced Harvey Keitel) who attempts to balance his upcoming career in the New York mob with controlling his increasingly maniacal friendship with Johnny Boy (An equally baby-faced Robert De Niro) and a romantic relationship with Johnny's cousin Teresa (Amy Robinson).
My main issue with the film is the central character,…
The epitome of cool - Harvey Keitel stood against a dimly lit bar. Robert de Niro walking into said bar, a girl on each arm, in slow-mo to The Rolling Stones' Jumpin' Jack Flash. Just one of those incredible "memorable movie moments." The film is outstanding. Drama/melodrama/soundtrack/Direction. It's all there.
What a film! A total beauty in cinema, I like this duo of Scorsese and Deniro better than Scorsese and Dicaprio. This film could easily been a little tougher but the pace was magnificent.
Scorsese's best? Still Scorsese of course.
Perhaps I missed something with this movie. Burns found it confusing and poorly executed.