Frank Ocean’s list of his 100 favorite films, as published in “Boys Don’t Cry” on the release of his album,…
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…
Lord, I'm tryin'.
Mean Streets is proof that Martin Scorsese's weak movies tend to be great anyway. The raw nature of the characters, performances, and dialogue is what drives this movie. It's the beginning of Scorsese's love for rise-and-fall stories.
Harvey Keitel and Robert De Niro were and are some of the best actors ever. The way they portray their characters - weak, vulnerable, aching with masculinity and impotence - it's absolutely wonderful.
Mean Streets is an essential film for Scorsese lovers (also known as movie lovers).
'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…
now i've got ritmo sabroso by ray barretto on repeat!!
Mean Streets has a wild fiery energy that takes Who's That Knocking at my Door and improves upon it by taking it to the next level and focusing it on more well-defined characters. That film was the announcement of a great artist, while Mean Streets the first true delivery of that promise.
This film has two amazing leads in Harvey Keitel and Robert De Niro. De Niro is that puckish young jackass who spits in the eye of the world, thinking that he will continuously get away with it. Keitel, meanwhile, has some of the same flaws, but they're filtered through his religiosity. While his Catholic faith doesn't play into every decision it makes, the early scenes of…
It's hard to add any new meaningful commentary about the classic film that put Scorsese on the map and pretty much changed the way modern films are made. It's still an amazing piece of work, one that doesn't seem a bit dated (aside from the fact that Keitel and De Niro look like kids). It derives most of its power from being so intensely personal ... sure, the plotline is fictional drama, but everything else is closer to documentary, recorded from the point of view of someone who grew up there. The atmosphere and detail are rich and evocative, a time capsule of a place that doesn't exist anymore. Like Flaherty's "Nanook of the North," you might suspect you are watching staged scenes, but the vivid historical perfection of place and time are inescapable.
Scorsese's reckless, feisty action is here in droves, just without the humanization and development that makes the violence worth it in his later films. This is great for a stepping stone, but a lack of restraint, characterization, and an inability to tie it all together into an intriguing plot prevents Mean Streets from truly living up to the sum of its parts.
this feels like Scorsese really wanted to make goodfellas instead but he didn't quite have the story or budget for it yet so he made the best with what he had
Director Martin Scorsese delivers an incomparable film in Mean Streets. With Mean Streets, Scorsese announced that he was and continues to be a truly original voice in cinema. Harvey Keitel's complex performance of an Italian-American struggling to pull his friends in Little Italy is pure movie magic. Robert De Niro has never been more full of swagger than he is in Mean Streets. De Niro also nails the unstable and loose cannon role, which is usually portrayed by Joe Pesci in Martin Scorsese's other films, Goodfellas and Casino. The scene in which Keitel's character and De Niro's character argue about debts in the backroom of a bar (a scene that was improvised) is alone worth checking out. Scorsese's first masterpiece is gripping and still holds up today!
In 1997, Mean Streets was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
De Niro won the National Society of Film Critics award for Best Supporting Actor for his role as John "Johnny Boy" Civello.
[Johnny Boy is pointing his .38 at Michael]
Michael Longo: You don't have the guts to use that.
Johnny Boy: I don't, huh? I don't have the guts? Come here, asshole. Come over here. I'll put this up your ass.
What many consider the first real Scorsese movie, Mean Streets is a hint at the greatness to come in both terms of acting and direction. While parts of it may come off as amateurish, the style works. All the classic Scorsese signatures are there, and they work to help the movie beyond just another crime film. A loving "debut" in all but the literal sense
Sprawling and messy but very watchable.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…