The future is set for Tony and Michael - owning a neighbour- hood bar and making deals in the mean streets of New York city's Little Italy. For Charlie, the future is less clearly defined. A small-time hood, he works for his uncle, making collections and reclaiming bad debts. He's probably too nice to succeed. In love with a woman his uncle disapproves of (because of her epilepsy) and a friend of her cousin, Johnny Boy, a near psychotic whose trouble-making threatens them all - he can't reconcile opposing values. A failed attempt to escape (to Brooklyn) moves them all a step closer to a bitter, almost preordained future. Written by
Dave Cook <firstname.lastname@example.org>
The innovative use of the hand-held camera was largely down to the fact that the film's meager budget didn't stretch to laying down lots of tracks for all the tracking shots. See more »
When Michael gets into the back seat of the car to discuss the fine German lenses that he has procured, it is obviously dusk. But in the next shot from the car's interior, it's night time. See more »
[Johnny Boy is pointing his .38 at Michael]
You don't have the guts to use that.
I don't, huh? I don't have the guts? Come here, asshole. Come over here. I'll put this up your ass.
See more »
Mean Streets was a brilliant early film by Martin Scorsese. It was his first ever collaboration with Robert DeNiro. Their very successful partnership has produced some of the best movies ever made: Taxi Driver, Raging Bull, Goodfellas, and Casino. It also helped launch Harvey Keitel to stardom.
Keitel as Charlie and DeNiro as Johnny Boy deliver great performances. Scorsese's direction is strong. Even close to 30 years ago, these three men show the talent which would eventually place them among the very best in the business. Scorsese uses a great selection of popular music in Mean Streets and that has become a trademark of his.
Mean Streets easily ranks with Scorsese's best. 9/10
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