Product: Mean Streets (1973)
Rating: 5.0
In some ways, Scorsese's best
Goodfellas must be seen by all film students and half the rest of the population, though the violence and MTV-effect soundtrack can be off-putting and create a strange curiosity outside the framework for viewers. Is that curiosity an indicator that we all have that "dark side" - some of us contain it, some don't; some won't.This 1973 movie, with its' modest production values, has some scenes so penetrating, so memorable, that the viewer must rewind constantly to convince him or herself somethimg so "real" was communicated: bar-owner/neighborhood philosopher played by David Proval is so powerful one wonders if Scorsese use a hidden camera in a real place in "Little Italy" of the early '70s. He explodes with anger at hopelessly in debt Johnny Boy (DeNiro) when he suggests yet another card game before everyone goes home; Proval's apology is in the best movie tradition - the low-lighting and ambience off the presumptive boom microphone make us think for a moment, that there's something happening beyond the guns, drugs, and thievery.Harvey Keitel is Charlie, another character suppressing his humanitarian side, nephew of the neighborhood "Boss" played by Cesare Danova; he splits his time between loving Teresa, Johnny Boy's beautiful cousin, who has a physical problem which is not helped by the constantly distracted, negligent men she socializes with; mentoring Johnny himself (it seems that JB sustained a concussion while defending Charlie in a riot and so Charlie cannot avoid this non-monetary debt); and being *mentored* by Gionvanni (CD) - who has instructed him that he must not associate with the two.He has a religious/spiritual side which is conveyed very convincingly: at first the viewer wonders if he's really delusional, as a man who follows St. Assisi *and* Giovanni at the same time. On that proverbial 1970s walk on the beach scene he says to Teresa that he does not run numbers. His "heart" is revealed in his emotional statement. The love scenes with Keitel and Robinson are perfectly realized through sensitive framing and editing.There are a number actors here also seen over 30 years later in "The Sopranos". It's great fun to notice them in one dramatic incarnation and refer back to the other.Scorsese's "open mike" approach - picking up atmosphere, a staircase echo, a car horn, children playing, etc., is interesting, and possibly new to the medium. "Michael", now frantic as he realizes he's been made "sucker" by Johnny Boy once again, pursues Teresa in hopes of getting a lead as to her wild cousin's wherabouts, and finds her in the hallway of her apartment house. The cold desolation of the scene, as he helps her retrieve groceries which dropped out of the paper bag when he grabs her arm, bespeaks menace and romance at the same time.The hard, cold mean streets cannot permit civilization among these directionless, ultimately well-meaning individuals.[Special Edition: Has short subject on the making of Mean Streets; also running Commentary by Scorscese and Amy Robinson (Teresa). Scorseses dialogue is beautifully rendered, though not timed to the action on screen; Robinson's, moreso, and quite sensuous. I wish she mentionedsome of her later projects, here.