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Directed by: Martin Scorsese Starring: Harvey Keitel, Robert De Niro Mean Streets was Martin Scorsese’s first real film.Who’s that Knocking at my Door? was really just a student film (albeit an exceptional one) that got a theatrical release, and Boxcar Bertha was a project he did for Roger Corman as a sort of “hired gun” director. Mean Streets was his first opportunity to really prove himself on his own terms with an actual budget, and it was an incredible success. Not only did it give him the leverage he needed as a director to pursue projects like Taxi Driver and Raging Bull, but it helped establish his style and personality as a filmmaker and defined the American aesthetic for filmmaking for years to come. While it’s often overshadowed by some of his other films, it’s one of the most important of his career and of the seventies “New American Cinema” movement. Like a lot of Scorsese’s early films, Mean Streets is a gritty, verite-style portrait of New York City life. It takes place in Little Italy, where Charlie (Harvey Keitel) and his friends try to stay out of trouble while working the hoodlum beat. They’re on the fringe of organized crime, not ruthless criminals per se, but still not the kind of person you would want to meet alone at night. One of Charlie’s friends, Johnny Boy (Robert De Niro) has more than his fair share of problems. He has an attitude that gets him in to all kinds of trouble, and he constantly accumulates debt to the most dangerous type of people. Charlie tries to help him out, but Johnny Boy is too aloof and independent to accept his aid. As the film progresses, Johnny Boy gets deeper and deeper into serious trouble, and Charlie grows more frustrated with his inability to help him. Even today, the influence of Mean Streets is incredibly ubiquitous. Slow motion effects with pop and rock and roll music playing? It began here. Extreme close-up shots with a double-dolly effect? First used here. Just a casual glance at the work of contemporary American filmmakers like Quentin Tarantino, Wes Anderson, Spike Lee, David Fincher and more reveals the lasting effect of Mean Streets innovative style. Scorsese himself continues to use the techniques in a lot of his films, but Mean Streets always appears to be the freshest and most personal of all of his films. In addition to producing his own individual style and influencing future directors, Scorsese was also able to pay tribute to some of his favorite films and filmmakers throughout the movie. Charlie and his friends go to the movie theatre twice, once seeing John Ford’s The Searchers, and then The Tomb of Ligeia, which was directed by Scorsese’s friend and mentor, Roger Corman. Footage from both films is incorporated into the movie, which is an unusual thing to do, but it was probably easier that trying to light a movie house well enough to film the actual projection, especially on the film’s tight budget. Scorsese also makes a few deliberate references to older films. The scene with Charlie and his girlfriend lying around in bed together is an obvious tribute to Godard’s Breathless, not only in the arrangement of the scene, but also the way the actors mimic some of the actions of the characters in Godard’s classic. The way the pool-hall is lit also recalls other films, most noticeably Godard’s Pierrot le Fou and Corman’s Masque of the Red Death. His roots as a NYC dweller and a frustrated Catholic play a big part of shaping the story and characters, particularly Charlie, who acts as a proxy for Scorsese as he sits behind the camera. The atmosphere of Mean Streets is an incredible slice-of-life straight out of New York, with many scenes shot on location in rough-and-tumble hand held camera. The ethnic neighborhoods, racial tensions and ever-present criminal element are all faithfully recreated on screen. The Catholic guilt complex plays a big part of forming Charlie’s personality. In a scene where he talks to his girlfriend in bed, he tells her about a dream he had where he came blood after they had sex, revealing the conflicts between his faith and his everyday, personal life. Catholic iconography is present throughout much of the film, and one of the opening scenes even takes place in a church, when Charlie goes for confession. In addition to Scorsese’s dynamic filmmaking, Mean Streets also benefits from a terrific cast, many of whom have gone on to be some of the greatest actors of their generation. Keitel is a great choice for Charlie, the audience’s foothold in the world of crime and hidden danger. He manages to stay above the carnage, only resorting to violence when it is absolutely necessary, unlike the other characters that often appear bloodthirsty and sadistic. De Niro’s role as Johnny Boy calls for him to be an incredibly unlikable person while maintaining a sense of vulnerability and false pride, which he is able to do quite well. Though it’s only a supporting role, Johnny Boy is probably the most unforgettable character in the film, even if he is an obnoxious creep. David Carradine, who had previously worked with Scorsese on Boxcar Bertha, makes a small but memorable cameo as a drunk who gets murdered by his own brother, Robert Carradine, a small carrot for fans of that movie. Mean Streets isn’t without its flaws though. Due to its small budget, the quality of some of the sets and costumes are a bit lacking, and the film stock is pretty ugly at times. There are also a few scenes that don’t really add much to the story or characters, and really only contribute to the sense of atmosphere. The characters’ motivations are also sometimes incomprehensible, and some of their actions have to be taken at face value with a forgiving suspension of disbelief. Despite all of its shortcomings, Mean Streets is a monument in American cinema, and is one of the most important influences of contemporary filmmakers. Even after decades of being ripped off and borrowed from, it still manages to stay original and provide some surprises, a rare feat for such a small production. It’s an obvious must-see for fans of Scorsese, but really anyone would do well to see it if only to know what tradition today’s most popular directors are working out of. The special edition DVD of Mean Streets comes out tomorrow, 8/17/04, both as part of the Scorsese box set and as an individual film. RATING: 4.5 PROS: great cast, inspired directing, lasting influence on American film CONS: some uneveness in the plot and characters ADDITIONAL INFORMATION: http://www.imdb.com/title/tt0070379/
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Aug 16, 2004 21:17
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| # ? Apr 25, 2024 11:17 |
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