Mean Streets

Both Robert De Niro and Harvey Keitel are fantastic in Mean streets. I'm not a huge Robert De Niro fan as every time i see him act, i just think to myself that he Robert De Niro trying to be somebody. This is not the case in mean Streets for me. Instead he plays a kid who is young and stupid named Johnny boy. His performance is brilliant and is most likely one of his best. Keitel plays Charlie who looks out for Johhny. The opening line of the film basically tells you everything you would want to know about Charlie.

The film is gritty and shot in a documentary style with several tracking shots being carried out hand held. It takes the film 45 minutes to give you a clear plot and a clear understanding on what going to unfold. The last 20 minutes is directed perfectly with a palpable sense of suspense and is clearly the best ending you can give to this film. One negative would be that in the first half there literally no set pieces . Not a lot happens but saying this you get a clear understanding and fully engaged with the characters which makes the last 20 minutes outstanding.

It not the best film that Scorese has ever made but it clear by watching this that Mean Streets was his main starting point to his successful career

Mean Streets

• "I f*uck you right where you breathe"

Directed by Martin Scorsese (1973)

Mean Streets came out in 1973 after Scorsese almost had the script under development in a decade. This is one of his first personal movies, describing the raw environment in the streets of Little Italy in NYC. We follow Charlie in the leading role and the bunch of guys around him. The hustler Johnny Boy owes a lot of money to the loan shark Tony and doesn't make his payments to him. Charlie now tries to work out a deal with Tony and is trying to get Johnny Boy to pull himself together, even though this looks like an impossible mission.

Scorsese's first motion picture Who's That Knocking at My Door and Mean Streets have many resemblances and contain the typical trademarks that Scorsese is now well known for. He almost always makes a character study of the life of lonely men, who are trying to get the best out of their situation in the asphalt jungle. Hustling, working, drinking, taking drugs etc. are very typical things to do for the persons appearing in his movies.

Mean Streets is photographed mostly with a hand hold camera, which helps create a raw look that fits pretty good to this environment. Also the movie doesn't contain an actual score. Actually songs from the director's personal music collection do work as the background music. The plot is this picture is only secondary. This is like many of Scorsese's other movie primarily a character driven story with a raw environment description.

The movie marks the start of one of the greatest director/actor collaborations ever! The role of Johnny Boy was Robert De Niro's role in a Scorsese picture, and later on he went to bigger leading roles under the director, which gave them both the reputation that they have today. Also this is Harvey Keitel's second leading role in a Scorsese picture, but after this movie Keitel and De Niro kind switched roles (see Taxi Driver).

This movie is not just a good movie - It also is the movie which helped form the foundation of Martin Scorsese's later pictures.

8/10

Martin Scorsese has made some brilliant movies in his life, but unfortunately this isn't one of them. I can't really call it bad, because the direction and the cinematography just drip with pure talent, but I have some major problems with the plot. Mainly, where the hell is it? The story doesn't just move at a slow pace, it appears to go in incredibly tiring loops. It starts of with Johnny Boy (a solid Robert DeNiro) owing a whole bunch of crooks money, which is a pretty riveting starting point. What does he do about it? What do the crooks do about it? Nothing, and that goes on for two hours. The whole movie appears to be Harvey Keitel endlessly saying he has to pay his debts, to which he refuses, to which he asks it again half an hour later, to which he like, makes up an excuse and goes to the movies, and all of it feels so redundant. The movie finally gets to the point in the end, but that doesn't really save it. It shows the sadness of the bad neighbourhoods in New York wonderfully, but that's really all I can say about it.

Charlie may be small time but the authority and standing of his Uncle Giovanni in the community of Little Italy offers him the chance to become more than just a local hustler. One of the things he should be careful of is the company he keeps and who he stands with. Unfortunately Charlie is very protective of his cousin Johnny Boy, who seems determined to borrow as much money as possible, gamble it away and not pay it back and also in a relationship with Johnny's relation Teresa. While the fun and energy of the street life continues, dark consequences of all these things threaten Charlie and those around him.

It has been years since I saw this film and I noticed that I had last watched it before I started reviewing. As a result I watched it again yesterday to refresh my memory. Seeing it with older eyes is an impressive experience because I appreciate what Scorsese has gone on to do and found it fascinating to look back on this, one of his earliest films. The plot is a mash of characters and events that come together to create a sense of place that is convincingly done; the overall narrative focuses on Charlie, in particular where his relationships are taking him but this aspect ebbs and flows with the events. It is funny, violent, personal and engaging, only a few aspects come over as weak. The script flows like real dialogue, producing the different moods of each scene and also being memorable and rough.

The style and direction of the film are impressive and it is interesting to see the influence Scorsese had with this and his other films. The techniques employed here will ring bells with anyone who watches modern cinema and television with more than a passing interest, Sopranos in particular owes him a debt. Here we have the slow-motions, chest-mounted camera (I'm sure there is a proper name for it), impressive use of music and so on that we have come to be used to with Scorsese and one cannot help be impressed by how well developed these ideas were at an early stage in his career. Of course along with stylistic constants, several of the cast would become regulars. Keitel is the heart of the film for me and, although his opportunities in the script are surprisingly limited, I felt he did well with the themes handed to him. De Niro of course catches the eye more because of what was to come but also because he has the more energetic character. Robinson didn't make much of an impression on me but the support cast features early turns from faces such as Proval, Romanus, Argo and others.

Mean Streets might be a bit rough and ready when placed next to the polished films that Scorsese would go on to do but it does not take away from its strengths to look back at it. So much of Scorsese's style and calling cards are in place even at this early stage and his film convincingly creates the streets and characters of the place. The main players involved have done better films since this one but it is still strong, stylish and interesting and definitely worth a look for anyone who has since any other Scorsese films.

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.)