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 »
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 »
In the late Spring of 1970, nationwide protests against the war in Vietnam focused in the Wall Street area of New York City and ultimately in a major anti-war demonstration in Washington, ... See full summary »
A writer named Algernon (but called Harry by his friends) buys a picture of a boat on a lake, and his obsession with it renders normal life impossible. He attempts to function again by ... 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
David Gibson <firstname.lastname@example.org>
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 ****
1 of 1 people found this review helpful.
Was this review helpful to you?