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 »

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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, D.C. A group of New York University film students documented the demonstrations as they happened in both cities. Later, in New York, the massive amount of black and white and color 16mm footage was edited into this important record of the day by day events. The extended final scene, shot by Edward Summer in a hotel room in Washington, D.C., is a spontaneous conversation among Martin Scorsese, Harvey Keitel, Jay Cocks and Verna Bloom who, along with a large group of NYU students, found themselves frustrated and perplexed by the events and hopeful that the protests would result in change. Written by E. Summer

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14 September 1970 (USA)  »

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Street Scenes 1970  »

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Referenced in The Directors: The Films of Martin Scorsese (2000) See more »

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Top tier evocation of dynamics of antiwar era's student political protests
26 January 2013 | by (United States) – See all my reviews

Street Scenes is one of only a very small handful of documentaries of the late 60s/early 70s which accurately capture the tensions, the passions, as the student antiwar movement of the era begins to fragment and cleave itself into two distinct camps: those who believed the movement must continue to be grounded in nonviolent protest tactics, and those who were starting to believe that the violence of the dominant culture when suppressing dissent must be met by the movement itself with a similar response. The film is both time capsule and anthropological document. It is an important record of an integral aspect of an era, and also a record of the intellectual arguments on both sides of the emerging movement divide then occurring. It is also, just solely at the level of its achievements as a film, an important transition point in documentary style between the documentaries of the early to mid-60s, and the later, more narrative-driven documentaries that emerged in the 70s.


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