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MEAN STREETS

Martin Scorsese États-Unis, 1973
The intoxicating style is Scorsese's own, rooted in a desire to transmit his feelings about each moment in the most visceral way possible. The rhythms of the rock and pop songs on the soundtrack feel like racing heartbeats, and each camera movement suggests the director whipping his head around to take in what's going on.
décembre 16, 2016
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The double act between Keitel and De Niro is a masterclass in contrasting but complementary character types, with Keitel shouldering the more challenging role. Indeed, the crucial difference between Charlie and Johnny is that only one of them is aware that he's giving a performance which has to be carefully modulated and recalibrated with each successive encounter involving people he didn't actually grow up with.
juin 5, 2015
It was the instinctive, holistically integrated flourishes of Mean Streets that would construct a working model for much of Scorsese's future output. Disarmingly personal, Mean Streets is at once Scorsese's most autobiographical project and a film of uncomfortable sympathies and character identification... The key to its effectiveness is in how Scorsese shows the professional and personal coming together as a catalyst for violence, inextricable affairs that nonetheless cannot reasonably coexist.
septembre 19, 2014
I do think there are similar traces of autobiography running through each film, albeit from different poles in Scorsese's career. Some have remarked upon the possibility that Belfort at least partially represents Scorsese's attempt to revisit and come to terms with his wild side... Meanwhile, Charlie and Johnny Boy—one a loyal and morally staunch family man, the other a loose cannon—feel to me like two sparring sides of their director's identity at the time of Mean Streets' making.
janvier 27, 2014
I value [Mean Streets] for how [Scorsese is] able to articulate his experiences here: through the immersive life-like textures of its dialogue scenes; the episodic structure and the feeling it inspires of anything bound to happen at any time; the way it alternates between gritty street exteriors and doom-laden hellish interiors. The exquisite skill with which he manipulates these elements to achieve a complete vision screams personal involvement...
janvier 27, 2014
From the iconic opening (Keitel in bed, jump-cuts and home movies and "Be My Baby," the holy light of the flickering projector), Scorsese exalts cinema as the mediator of reality, memory and reverie, the demonic art that enthralls the church boy.
mars 3, 2013
While the storytelling sags a little as Mean Streets enters into its final stretch, it succeeds as the first of Scorsese's grand, disturbing, music-infused crescendos, a lethal ambush scored to panicked automotive noise and Eric Clapton/Johnny Mayall and the Bluesbreakers' "Steppin' Out." If, ultimately, the math doesn't exactly add up, Mean Streets is justly valued for its visceral, concussive force, grounded in remembrances that couldn't have been made up for love or money.
juillet 19, 2012
Martin Scorsese's intrusive insistence on his abstract, metaphysical theme—the possibility of modern sainthood—marks this 1973 film, his first to attract critical notice, as still somewhat immature, yet the acting and editing have such an original, tumultuous force that the picture is completely gripping.
janvier 1, 1980
City Magazine
Mean Streets is a terrific example of intricate, tough filmmaking. Like Renoir's M. Lange gem, Scorsese's whip-like style moves his ensemble with incredible vivacity... The poignant street film is a once-in-a-lifetime work: his own neighborhood, talented actors before they've scored and all the same age (nothing to lose), it's an intensely autobiographical work.
septembre 23, 1975