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Mean Streets (1973)

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A small-time hood aspires to work his way up the ranks of a local mob.

Director:

Martin Scorsese

Writers:

Martin Scorsese (screenplay), Mardik Martin (screenplay) | 1 more credit »
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949 ( 108)
5 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Robert De Niro ... Johnny Boy
Harvey Keitel ... Charlie
David Proval ... Tony
Amy Robinson Amy Robinson ... Teresa
Richard Romanus ... Michael
Cesare Danova ... Giovanni
Victor Argo ... Mario (as Vic Argo) (as Victor Argo)
George Memmoli ... Joey
Lenny Scaletta Lenny Scaletta ... Jimmy
Jeannie Bell ... Diane
Murray Moston Murray Moston ... Oscar (as Murray Mosten)
David Carradine ... Drunk
Robert Carradine ... Boy With Gun
Lois Walden Lois Walden ... Jewish Girl
Harry Northup ... Soldier
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Storyline

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 <cookd@mcmail.cis.mcmaster.ca>

Plot Summary | Add Synopsis

Taglines:

You don't make up for your sins in church. You do it in the streets... See more »

Genres:

Crime | Drama | Thriller

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | Italian

Release Date:

14 October 1973 (USA) See more »

Also Known As:

Season of the Witch See more »

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Box Office

Budget:

$500,000 (estimated)

Opening Weekend USA:

$32,645, 15 March 1998

Gross USA:

$32,645

Cumulative Worldwide Gross:

$41,131
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor) (uncredited)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

This movie and The Godfather: Part II (1974) feature scenes of Robert De Niro running over the rooftops of Little Italy during the annual Feast of San Gennaro festival. See more »

Goofs

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 »

Quotes

Michael Longo: What do I look like? A jerk? On his next payday, I'm comin' down here to Tony's. Johnny Boy better show or I'm gonna find him and I'm gonna break his fuckin' legs. Do we understand each other?
Charlie: I heard you.
Michael Longo: Good.
See more »

Alternate Versions

NBC edited 10 minutes from this film for its 1977 network television premiere. See more »

Connections

Spoofed in National Lampoon's Animal House (1978) See more »

Soundtracks

Florence
By The Paragons
Courtesy of WINLEY Records
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User Reviews

Redemption on the Lower East Side
3 May 2000 | by judy.deanSee all my reviews

Mean Streets has all the characteristics we have come to associate with Scorsese - the fluid camerawork, the expressionistic lighting, the sudden explosions of violence, the eclectic soundtrack. In later films, he took cinema to new heights with the flowering of his technical skills and the broadening of his material, but Mean Streets remains unsurpassed for the emotional intensity which only a young director, passionate about film and intent on making a personal statement, could achieve.

The theme of the film is contained in the famous first line 'You don't make up for your sins in church; you do it in the streets' (a Scorsese voice-over). An extended preface which delineates the nature of the film and its characters before the narrative begins includes brief cameo scenes introducing the four protagonists (a much copied device: see, for example, Trainspotting).

Scorsese's alter-ego is played as in the earlier 'Who's That Knocking At My Door?' by Harvey Keitel, giving the performance of his young life. He is Charlie, a junior member of a Mafia family who collects debts and runs numbers, but who also has aspirations to sainthood. The other key figure is his anarchic friend, Johnny Boy, played with ferocious energy by de Niro.

Charlie is introduced coming out of confession, dissatisfied with his penance. Reciting words doesn't mean anything to him and he can't believe that forgiveness could come so easily. Deliberately burning his hand in a candle flame is a more effective reminder of the pain of hell. The camera follows Charlie from the altar into Tony's bar, a red-lit inferno, and when Johnny Boy comes in, to the tune of Jumping Jack Flash, Charlie recognises that this is the form his penance will take. Johnny Boy is the cross he must bear. 'You send me this, Lord' he says resignedly.

Johnny Boy's irresponsibility and impulsiveness make him everything Charlie, with his controlled, anxious, guilt-ridden persona, is not. The argument which follows in the back room about Johnny Boy's debts deserves its reputation as one of the great scenes in seventies cinema.

Charlie's life moves in well worn, claustrophobic circles. Hardly anyone outside his immediate circle appears in the film and other ethnic groups are viewed with suspicion. The characters seldom appear outdoors or in daylight. Charlie inhabits a world of bars, pool halls and cinemas. In the one scene he appears in sunlight, he looks ill at ease. The suit and heavy overcoat he wears (reflecting his Mafiosi ambitions) look distinctly out of place on a beach. It's significant that in this scene Teresa, his girlfriend, scorns his small-time gangsterism and challenges him to join her in moving away to a new life. But Charlie is trapped by his desire to please his uncle.

Scorsese has said that his choice in adolescence lay between becoming a priest and becoming a gangster and that he failed on both counts. Mean Streets allows him to explore that choice to devastating effect.


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