Frank is a Manhattan medic, working graveyard in a two-man ambulance team. He’s burned out, exhausted, seeing ghosts, especially a young woman he failed to save six months’ before, and no longer able to save people: he brings in the dead. We follow him for three nights, each with a different partner: Larry, who thinks about dinner, Marcus, who looks to Jesus, and Tom, who wallops people when work is slow. Frank befriends the daughter of a heart victim he brings in; she’s Mary, an ex-junkie, angry at her father but now hoping he’ll live. Frank tries to get fired, tries to quit, and keeps coming back, to work and to Mary, in need of his own rebirth. —IMDb
Martin Scorsese was born in New York City and soon developed a passion for cinema and a particular admiration for neo-realist cinema which inspired him and influenced his view or portrayal of his Sicilian heritage. After graduating from NYU Film School in 1966 and making a number of shorts, he shot his first feature-length film Who’s That Knocking at My Door (1968) with fellow student, actor Harvey Keitel, and editor Thelma Schoonmaker both of whom were to become long-term collaborators. Mean Streets followed in 1973 and provided the benchmarks for the ‘Scorsese style’. After Scorsese directed Alice Doesn’t Live Here Anymore, the trio was reunited for the dark journey of Travis Bickle in Taxi Driver. After New York, New York Scorsese released Raging Bull. The acclaimed biography of middleweight fighter Jake LaMotta was followed by exploration of fans as pariah in The King of Comedy, dark-comic dreams in After Hours and pool sharks in The Color of Money. Scorsese outraged some religious… read more
One of Scorcese's best: the nightmare-like mood, the labirintic space, the repetitions of the actions in time, all these careful constructed elements translate in fact the psycologically disturbed mind of the protagonist (Nic Cage was never better, except in Herzog's "Bad Lieutenant"), a medic/ambulance driver lost in a city of sin, aiming for redemption through love and the almost religious acceptance of death.
A bizarre and unique masterpiece on every level - a character study/companion piece to Taxi Driver (it could have been titled Ambulance Driver), a neo-noir, a dark comedy, and an exploration of New York City's grimy nightlife in the early 90's. Cage and Scorsese nail it, the episodic structure/supporting cast gives energy and momentum - seriously this movie is amazing.
a brilliant counter point to taxi driver from the older Scorsese. The same human putridness of the city from taxi driver, but a different response. perhaps the strongest of his movies in terms of religious themes, struggle against godlessness. Scorsese on top of his game in style and technique. Deserves rewatches.
This film is raw and poetic in a way that only someone who has spent time locked in the darkness could make. The darkness Scorsese brings here is unique and though the voice over can seem contrived to some, I was hanging on every word Frank said. His fears in some way become your fears. Everyone sees the ghosts, every street carries memories. Saving people can be the highest high and the lowest low.