The future is set for Tony and Michael - owning a neighbourhood 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>
Scorsese stated in a foreword to the film during TCM's broadcast on Sept. 17, 2018, that the story's setting was approximately 1963. See more »
Camera shadows are visible during the bar fight. See more »
I hate the sun. Come on, let's go inside, will ya?
What else do you hate?
I hate the ocean and I hate the beach and I hate the sun and - the grass and the trees - and I hate heat!
Charlie, what do you like?
I like spaghetti and clam sauce, mountains, Francis of Assisi, chickens with lemon and garlic, John Wayne...
You know, there aren't any mountains in Manhattan.
Tall buildings are the same thing. And I like you.
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NBC edited 10 minutes from this film for its 1977 network television premiere. See more »
How can you endlessly watch a total screw-up borrow from the mob, annoy the only friend he has, and basically wreck his life without wanting to run away from it all? When the screw-up is played by young Robert DeNiro you are fascinated, you don't want to turn away. MEAN STREETS was not the debut of both Martin Scorcese or his stars Harvey Kietel and Robert deNiro. They struggled in the field for some time. This is the film that told the world, new head-honchos have arrived on the screen! MEAN STREETS tells of low-rent street hoods in Little Italy. Harvey Kietel plays the one hood whose a voice of reason, who doesn't mess up all the time, who is smart enough to avoid trouble. When DeNiro's Johnny Boy is first seen here, he is playing infantile tricks, and is telling his friend how he can't go in half the stores around him because he owes everybody money. Martin Scorcese uses a gritty documentary-shooting style to unfold his movie. It remains probably the best film of 1973 (But 1973 was not one of the best years for movies.)
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