Mean Streets is directed by Martin Scorsese who also co-writes the screenplay with Mardik Martin. It stars Harvey Keitel, Robert De Niro, David Proval, Amy Robinson, Richard Romanus and Cesare Danova. Plot finds Keitel as Charlie, a young Italian-American crook trying to work his way up the New York Mafia scene. But his way is blocked by Catholic guilt and his obligation to take care of loose cannon pal Jonny Boy (De Niro), who is in debt to hoods and doesn't seem to care.
A film of significant firsts. It would begin the Scorsese/De Niro relationship that served cinema so well and it laid the foundation for Scorsese's hoodlum filmic empire. Viewing Mean Streets now is an odd experience, for although there are some great things to sample, the piece undeniably seminal in the history of American cinema, it also plays as a pretty straight forward film. There are no surprises in store, the trajectory of characterisations runs true and goes exactly where you expect it too. Had I personally watched it upon release in 1973 I'm sure I would have been a bit more awed, but it very much feels over-rated now, with some critical appraisals of it appearing to pump it up more because of its importance than for any narrative quality.
As Scorsese goes for gritty realism, the story at the core lacks vibrancy. It's only when De Niro (jumping-bean) as borderline nutter Jonny Boy is doing his nutter Jonny Boy thing, does the picture actually perk up. The roll call of characters aren't engaging since they aren't fleshed out, the girl characters are badly written and the key bar-room brawl is very unconvincing. On the outside the picture is ace, opening our eyes to a scuzzy Little Italy, Scorsese a master at portraying an environment he knows so well, but it's all polish with no actual substance underneath. Tech credits are high, camera work, lighting and sound-tracking, all carry the hallmarks of future classics, but these things ultimately avert your gaze from the simplicity walking the streets down below.
Raw and decidedly honest film making, but weighted down by desperately trying to pulse with religious musings, Mean Streets could have been the masterpiece some have made it out to be. It's not, it has weaknesses that we shouldn't be blind too, even if it does showcase some incredible talents that were about to enter the annals of cinema history. 7/10
A film of significant firsts. It would begin the Scorsese/De Niro relationship that served cinema so well and it laid the foundation for Scorsese's hoodlum filmic empire. Viewing Mean Streets now is an odd experience, for although there are some great things to sample, the piece undeniably seminal in the history of American cinema, it also plays as a pretty straight forward film. There are no surprises in store, the trajectory of characterisations runs true and goes exactly where you expect it too. Had I personally watched it upon release in 1973 I'm sure I would have been a bit more awed, but it very much feels over-rated now, with some critical appraisals of it appearing to pump it up more because of its importance than for any narrative quality.
As Scorsese goes for gritty realism, the story at the core lacks vibrancy. It's only when De Niro (jumping-bean) as borderline nutter Jonny Boy is doing his nutter Jonny Boy thing, does the picture actually perk up. The roll call of characters aren't engaging since they aren't fleshed out, the girl characters are badly written and the key bar-room brawl is very unconvincing. On the outside the picture is ace, opening our eyes to a scuzzy Little Italy, Scorsese a master at portraying an environment he knows so well, but it's all polish with no actual substance underneath. Tech credits are high, camera work, lighting and sound-tracking, all carry the hallmarks of future classics, but these things ultimately avert your gaze from the simplicity walking the streets down below.
Raw and decidedly honest film making, but weighted down by desperately trying to pulse with religious musings, Mean Streets could have been the masterpiece some have made it out to be. It's not, it has weaknesses that we shouldn't be blind too, even if it does showcase some incredible talents that were about to enter the annals of cinema history. 7/10