Revisiting this for the first time since college and concluding it's one of Scorsese's supreme achievements. "Mean Streets" wasn't his first title choice, but it makes sense to name his most soulful gangster movie after its setting because it so acutely observes a place. It also explains Scorsese as a whole—those who wonder how Goodfellas and Wolf of Wall Street could be informed by Catholicism should inquire within.
It's not about the series of violent events but the way those events are presented. Everything flows as if could went into any possible direction. Because of that, there's a sense of realism in what could otherwise be just another street punks movie. Keitel channels idealistic figure as much as the surrounding allows him to be while De Niro is hysterically obnoxious - with soundtrack that foreshadows "Goodfellas".
Scorsese's second best after Raging Bull, this one is the real 70s gangster pic, not the Godfather. Gritty, real, uncompromising, and uses its soundtrack in a way that other directors would not perfect for decades. De Niro is perfect as Johnny Boy, and plays off Keitel beautifully. Lot of Scorsese films I feel are formulaic/dull, and the last 20 of this one almost shits the bed, but it remains a classic. 4.5 stars.
A fusion of so many schools of cinema can be seen in this one. Overlong in certain places, could've been better with tighter editing. De Niro's acting is a loose cannon in a few scenes without a proper direction from Scorcese. Should've been a better attempt considering he was already five years into his filmmaking career by this point. Nevertheless a good one.
Ist offenbar eine unrestaurierte Fassung. Daher ist der originale englische Ton sehr schlecht, die deutsche Synchronisation ist grausam. Nichtsdestotrotz: Scorsese hat wirklich bessere Filme gemacht als Hexenkessel, dessen Darstellung mitunter in den Klamauk abdriftet.
It's the beginning of Scorsese, De Niro and Keitel finding out their strengths and what would later be the most important people in the film industry. Mean Streets is gritty but just lacks direction and in some respects would be overshadowed by the masterpiece that is Taxi Driver. Some acting feels over the top and plot threads don't actually go anywhere or get explained but perhaps that's the whole point of the city
3.8 La trama non ha niente di particolarmente avvincente, non c'è intreccio ne mistero. E va bene così, perché Scorsese con lo sguardo dell'antropologo e del visionario ( inusuale commistione) ci regala splendide pennellate di una New York e una Little Italy notturna dominata dal nero il rosso e un po' di blu, dove prende vita il violento travaglio interiore, quasi cristiano, di Charlie. Fuoco e acqua
Still original after all these years, because its deeper qualities - the religion, the Dubliner-esque dead endness and the surrealism (all that RED) - still haven't been imitated. Not a propulsive plot like Goodfellas, but an impressionistic recollection of life in little Italy. The use of music remains unsurpassed - even by Scorsese himself
A great deal more jumbled and poorly constructed that I had anticipated - but Scorsese's future as an influential filmmaker does shine through despite the overwhelming flaws. Points for the soundtrack, the key performances, and the gritty cinematography flooded with neon lights and dark shadows.