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...
A small-time hood must choose from among love, friendship and the chance to rise within the mob.
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…
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.
Out of all the Martin Scorsese films I've seen so far; this is the only one I didn't like.
"The pain in hell has two sides. The kind you can touch with your hand; the kind you can feel in your heart... your soul, the spiritual side." ~ Charlie
Looking at a director's early work through the lens of the great films he produced later can be a bit unfair. This was not Martin Scorsese's first feature, and it's not his best, but it was his breakout production, and it is easy to see the origins here of "Taxi Driver," "Goodfellas" and so many superb films to come.
It is also just as easy to be disappointed by his use of the shaky cam and low lighting, a meandering plot, and an unresolved central conflict involving ambition and faith.…
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…
Scorsese's breakthough film as all the traits of many of his future films, on top of being a great crime tale. Refreshing to see Robert De Niro as a cocky, reckless youth.
Most of the movie isn't that great, but there are three scenes I ADORE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Makes it all worth it. Mook, what's a mook? You can't call me that. You're a jerk off. Intro scene. hype
"You too good for this ten dollars? It's a good ten dollars. You know Michael, you make me laugh. You see, I borrow money all over this neighborhood, left and right from everybody, I never pay them back. So, I can't borrow no money from nobody no more, right? So who would that leave me to borrow money from but you? I borrow money from you, because you're the only jerk-off around here who I can borrow money from without payin' back, right? You know, 'cause that's what you are, that's what I think of you: a jerk-off. You're a fucking jerk-off! You're laughing 'cause you're a jerk-off. I'll tell 'ya something else,
[lights ten dollar bill on fire]
Es como el primo de Taxi Driver, pero supongo que más violento y sucio, y es que no sé que me pasa pero hay algo de las películas de mafia que nunca me cuadra :( se llama ser débil.
Well, it’s certainly all here, right from the beginning. Scorsese’s interests both thematic and visual are on full display if not entirely developed. There are some excellent visual gambits, but nothing that he didn’t do better afterwards. The movie is least convincing when it starts talking about justice, faith, conscience, because it chooses to address those issues through commentary, not through the direct action of the characters. The most vibrant plotline is de Niro’s, and that’s in no small part because of who he is as an actor. I’m also just kind of exhausted with the overly serious moralizing gangster movie. That well has run dry for me.
The struggle of trying to do the right thing when it's not even clear what that is. Robert De Niro plays a self destructive personality type that was probably explored more effectively in Raging Bull, although not quite as subtly as it was here.
I'm sad I didn't watch this movie sooner. It was great. This was Scorsese's first film of his own and he wrote the script based off of what he often saw while growing up in New York's Little Italy. What a terrifying childhood!
Charlie is looking to move up in the New York mafia but is hindered by his sense of responsibility toward his troublesome friend Johnny Boy.
Harvey Keitel is the lead in this movie and he is really good but Robert De Niro steals the show as Johnny Boy. The film is very low budget and has a real gritty look which captures the tone perfectly. This is the movie that put Scorsese on the map and was his first gangster film. The story felt very original as well. Can't say enough good things about this movie. Check it out if you haven't already.
This is way, way more than just a prelude for Goodfellas
Proof that a lot of raw energy can make up for some sketchy production values (jarring edits, out of focus shots, shoddy sound recording).
Like North By Northwest, this is one of those films whose story has been emulated, parodied, lampooned, given homage to, and referenced in so many other movies that I feel like I've seen it before. Rounders came to mind, and though that movie is fun, the grittiness on display here is unparalleled.