Martin Scorsese interviews his mother and father about their life in New York City and the family history back in Sicily. These are two people who have lived together for a long time and ... See full summary »
Now middle-aged, mobster Murray looks back at his humble beginnings as a bootlegger and his rise to becoming wealthy and highly influential. Through it he talks about how much of his ... See full summary »
J.R. is a typical Italian-American on the streets of New York. When he gets involved with a local girl, he decides to get married and settle down, but when he learns that she was once raped, he cannot handle it. More explicitly linked with Catholic guilt than Scorsese's later work, we see what happens to J.R. when his religious guilt catches up with him. Written by
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A scene with Harvey Keitel laying on a bed while "The End" by The Doors is playing in the background almost got repeated in Apocalypse Now (1979), though in different circumstances. Keitel was the original choice for the Willard role (played by Martin Sheen) in Francis Ford Coppola movie but was fired a few weeks after some rehearsals, and as known to many, the film starts with Willard lying on a bed with The Doors song playing in the background. See more »
Striking, if aimless debut from writer-director Martin Scorsese, involving a well-dressed but feckless young man (Harvey Keitel, in his acting debut) on the streets of New York who meets a lovely single girl reading a foreign magazine and strikes up a conversation about movies; soon after, they begin dating, however she volunteers more about her past than he is able to handle. What began as a short film from film student Scorsese was eventually expanded upon and, with a title change or two, released to some acclaim in 1967. The sexual montage, featuring Keitel and his 'broads' (and set to "The End" by the Doors) is a fabulous example of cinematic sound and fury: the perfect marriage between silvery black-and-white cinematography, kinetic editing, great music and lusty bodies on display. Unfortunately, Scorsese as a writer had not developed a true ear for canny dialogue, and the characters fail to emerge as a result. Still, an almost-dynamic first try, and a must-see for film historians. Keitel, marvelously youthful and muscular, is more callow than expressive, though he gives the picture its pulse; the cinematography from Richard Coll and Michael Wadley also helps. **1/2 from ****
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