I never heard of this film until my friend put me on to it. When I searched further and learned this was the film that showed the potential from a couple of my favorite actors, Harvey Keitel and Robert De Niro. I had to check this out. Martin Scorsese's Mean Streets is a pretty good tale.

Keitel is trying to work his way up in the ranks of the mob. While De Niro is a young gambler in heavy debt with a loan shark. The film does a pretty good job telling a story about Keitel trying to be the "voice of reason" for De Niro who is insanely reckless. Their acting in the film is by far the strongest and most engaging. I really did love the atmosphere and it caught the mood of the film greatly with it's dark and gritty presentation.

The Mean Streets is a very good film but doesn't come close to lets say Goodfellas. I highly recommend not coming into this expecting that film because it doesn't come close. On it's own I find it enjoyable and it definitly found a home in my gangster collection. Plus the extras feature a short documentary with Scorsese speaking on the film and how his way of life growing up in Little Italy influenced this film. De Niro, Keitel, and Scorsese fans shouldn't pass this one up.

Martin Scorsese's enthralling look at mob life during the twilight of the hippie era is nothing short of brilliant. I'm no Scorsese expert...but in my humble opinion, this is really where it all started. What's great about "Mean Streets" is, you see pieces of it in all of his other classic films like Taxi Driver, Raging Bull and Goodfellas. Close-ups, slow-motion pans and the use of original artist recordings throughout the entire film (something that wasn't practiced a whole lot during early 70's cinema). The only flaw I can think of concerning Mean Streets is that Frank Vincent and Joe Pesci weren't on hand to beat each other up.

Scorsese regulars Harvey Keitel and Robert DeNiro give you an unflinching look at the social aspect of Mafia lifestyle. Cohorts Harry (Paul Schrader's Blue Collar) Northup and Victor (King Of New York and Bad Lieutenant) Argo lend the film a lot of nostalgic appeal. But it's David Proval (of "Sopranos" fame) that gives a standout performance as bar owner and lion tamer. David (Kung Fu) Carradine makes a cameo as the tavern drunk. Mean Streets is not to be missed, gangsters being gangsters hanging out in bars acting tough. Just before polyester suits, platform shoes and "Studio 54"...this is the original "Bada Bing!".

olofpalme63

This is a great tale of 'little Italy' through the memories of Martin Scorsese. Harvey Keitel is excellent as 'Charlie', a young man struggling to survive, and keep love alive, in a rough neighborhood made rougher by the mob's influence. A must have for classic collectors.

Chrissy K. McVay - Author

The first time you see a great contemporary film you are looking into a mirror seeing the world around you. The characters, the locations and the conflicts are recognizable as part of your life. Over the years as you watch again, the film jogs memories and settles into your mind. Each viewing is enjoyable, each viewing is unique and the film is always welcome. I had not watch "Mean Streets" in years but was caught up in the story and remembrances at once. This is a great film from a great director with great acting as fresh and enjoyable the first as the fifth viewing.

This is a slice of life film. Day to day living, conflicts, problems and opportunities make up the story. That the main characters are on a crash course is apparent to us but they are looking for a way thru a messy life. Harvey Keitel is doomed to fail as a small time hood trying to keep a crazy Robert DeNior from destroying them both. DeNiro establishes a screen persona in this film that he will use often. Realistic with open honest characters this is an excellent enjoyable film.

As lead character Charlie (Harvey Keitel) awakes in the dark of night to one of those haunting, conscience rattling moments of clarity that sometime haunt us, the viewers hear his thoughts- "You don't make up for your sins in church. You do it in the street. You do it at home. The rest is bullsh** and you know it." So begins a ride that takes us in to the tortured soul of a small-time mob soldier,riddled with Catholic guilt and misguided stabs at redemption in an age decades before Oprah-speak and self-help sent the Tony Soprano's of the world toward therapists and psychotropics.

Charlie has several problems. He collects debts for his higher level uncle who dissapproves of his relationships with epiliptic girlfriend Theresa and her immature, impulsive and indebted cousin Johnny Boy (a very young Robert DeNiro).Charlie tries to renconcile his double-sided life: moving forward in the biz with his Mafioso uncle while romancing the off-limit Theresa and trying to set constant screw-up Johnny Boy on a straighter (but not totally straight) path.While Theresa is a breath of sanity and stability, Johnny Boy is a source of constant tension and frustration, especially when crossing Charlies associate Michael (Richard Romanus.)

BE WARNED- This is not a gangster film in the vein of "Scarface", "Casino" or even "Goodfellas". This is a morality play which revolves around small-timers and small-change.There are no kingpins or "crimes of the century" with this crew, just petty hustles, senseless knuckling of adversaries and dreams that involve thousands instead of millions.

Some of the edits and transistions may seem somewhat uneven as Martin Scorcese had limited experience when this fine film went into production. Conesuiers will appreciate many aspects of "Mean Streets"- the subtleness of the losers presented,the radiance of emotion- when Richard Romanus' Michael seethes silently in a bar scene, he projects more feeling in several seconds than many actors do in their entire careers. Dialogue, which I believed was largely improvised in Johnny Boy and Charlie's bar room interactions, is so raw and natural, you may smell cigarette smoke and booze when it is over with.
In a scene where Charlie observes a loud party of his Puerto Rican neighbors, Keitels skill is used brilliantly and all but the blind can read deep into the thoughts of troubled but integral man fighting a losing war.
The soundtrack is a well chosen mix of 50's and 60's oldies(which were still popular radio staples circa 1973) the Rolling Stones, Cream and yes opera.(Just a note, Creams "Steppin' Out" appears in the film but is erroneously credited as Eric Claptons "Hideaway")

Very powerful and worth several viewings to catch the many elements that are finely presented.

...And with that line a star was born. Martin Scorsese, Harvey Keitel, and Robert De Niro put together the greatest independent film ever. Mean Streets is a classic in every since of the way. Great cast, great script, great direction, the influence, the soundtrack. To list everything good about this movie would take up more space than I'm allowed.

Perfect from start to finish. The story is engaging, the characters are engaging. What more could you ask for?

The movie surrounds the lives of Charlie and his associates. Early Scorsese is definitely on in this movie. Everything that screams Scorsese can be seen and done perfectly in this movie.

A wonderful asset to any DVD collection. Highly recommeded.

Mean Streets was a great bargain! I got it much sooner than expected, and the picture quality was like brand new! I would definetly order more products from this seller. Thank you

This is one of the most important movies of the 70's, released after The Godfather, and whilst probably not as good a film, I think it has been far more influential on other filmmakers - Tarantino for one. This is Scorcese's first masterpiece and rewards repeated viewings. The film is loosely based on Scorcese's own upbringing in little Italy.

The cast are perfection. Harvey Keital and Robert DeNiro spark brilliantly off each other, helped by a fabulous script and I believe some improvisation as well. Noteably the scene in the back of the bar "you mean last Tuesday". The dialogue in this film is marvellous and occasionally it is intentionally funny as well.

Prior to this film Scorcese had made some interesting films but none of them had his stamp on them. Mean Streets comes straight in out of nowhere as a fully fledged masterpiece:
The use of music when Johnny enters the bar; Its done in slow motion to the Stones Jumpin' Jack Flash.
The use of colour.
The drunk scene, not very long, but perhaps the best ever done. The camera (some sort of steadycam) faces Harvey Keital and we are staggering around with him, until eventually he falls over and passes out on the floor - the camera goes with him.
The wonderful fight sequence in the pool room over being called a "Mook"; when nobody knows what a Mook is...

Look out for Scorcese in an uncredited cameo role as Jimmy Shorts, and also for David Carradine as a drunk.

This is essential for any movie collection.

Excellent movie. Robert De Niro and Harvey Kietel are excellent. Martin Scorsese did an excellent job. I would recommend this move to anyone thats been to New Yorks Little Italy.

The first crime classic from the legendary Martin Scorcesse & his first of 8 pictures with Robert De Niro is 1973's "Mean Streets". Also starring Harvey Keitel who starred Scorcesse Masterpieces "Taxi Driver" & "The Last Temptation of Christ" A good, but not great crime drama, an intense classic, one of the meanest movies ever made. If you're are Scorsese fan see "Mean Streets"

This 1973 gangster flick marks the major 'coming out party' (of sorts) for the likes of director Martin Scorsese and actors Robert DeNiro and Harvey Keitel. Despite its low budget, the stylish shooting and other tricks by Scorsese, plus the seedy under belly of the Little Italy location is always pleasing on the eye, the non-stop 60s styled soundtrack is carefully chosen, and the acting of DeNiro and Keitel (and co) is convincing and entertaining. Its not Goodfellas or Casino, its more of an investigation of Keitels inner turmoil as he tries progress up The Mob. At least its supposed to be. However because the plot does not progress in a normal manner and there's no real character development, this film will not be to everyones tastes. For most though, this will be an interesting, if not exciting, 100 minutes.

As for the 'Special Edition' tag, well besides the film it comes with a trailer and a Back On The Block documentary. Not exactly a bounty of 'special' material. Another reminder that this label is overused by film studios.

perhaps Scorsese's most important film, mean streets is a rough indie film that would introduce a major talent.. De Niro and Keitel give stellar performances as small-time mobsters on the streets of New york.. This is a story of friendship, betrayel, and love.. This is what a low-budget movie can be - very inspiring

For the first hour of this film nothing happens. Maybe my expectations were too high, but I found this movie to be slow and tedious. I'm not looking for Arnold Schwarzenegger to appear and start blowing holes in buildings - but how about a plot, a story, one tiny crumb of activity? I assume that many people consider all the meandering bits of small-time stuff to be "artistic" and "brilliant," but I thought most of it was dull. If I wanted this much "realism" I would rent a documentary.

I enjoyed the scenes with DiNiro - but there are too many scenes without him.

I will say that the last twenty minutes of this movie are good, if you can stay awake that long. I spent more time watching the clock than the film.

Well, its better than the other version.

There could have been more on this DVD, but bonsidering it was lightly promoted and was Martin Scorsese's early film, there is not too much extra. The extras include ALL:

*All New Digital Tranfer
*Commentary by Martin Scorsese
*Martin Scorsese Featurette "Back on the Block"
*Theatrical Trailer

Like I said, at least its better than the other version.

Director: Martin Scorsese
Cast: Harvey Keitel, Robert De Niro, David Proval, Amy Robinson, Richard Romanus, Cesare Danova, Victor Argo, George Memmoli.
Running Time: 112 minutes
Rated R for language, violence, and nudity.

"Mean Streets," simply put, along with "Halloween", is one of the greatest independent films ever made. At the very least, it pioneered what modern audiences have come to associate with the best of indie cinema, and what, by the late '90s, has become so essential to our perception of so-called "hip" movies that the once daring and exhilarating techniques are now mostly used as frustrating clichés. The picture itself, made in 1973, is most famous for kick-starting three major careers. Martin Scorsese and Robert De Niro later collaborated as a director/actor team on four more masterpieces: "Taxi Driver," "Raging Bull" "The King of Comedy" and "Goodfellas." Harvey Keitel, in the leading role, went on to play other memorable characters, like Mr. Wolf in "Pulp Fiction" and "Reservoir Dogs". Cast as Charlie, a small-time, young gangster in New York's Little Italy, Keitel struggles to make sense of his Catholic background and help his troubled friend (De Niro) stay out of the powerful Mafia players' way. What seems to be a familiar scenario, used as far back as the classic Bogart/Cagney vehicles, gets an unusually complex treatment from Scorsese. A conventional, linear plot structure with big speeches and witty one-liners from main characters is abandoned for a grittier, naturalistic approach. The film consists of a series of telling episodes, related only through their participants. Some may find this somewhat lethargic plot to be uneven and without structure, but perhaps this is Scorsese's entire purpose: times like these in Little Italy were without a definitive structure and the conflicts were not spelled out for them.

"Mean Streets" has much more in common with the works of Italian Neo-realism or French New Wave, rather than a typical gangster drama. Its unorthodox, original, yet unpretentious camera work gives the film an unprecedented vitality that young filmmakers have attempted to recreate for decades. Now commonplace shots, such as a subtitled introduction of a particular character, a fight sequence tracked through the four corners of a room in a single take, a swaying hand-held camera to create the sense of an alcohol-induced stupor, have all been popularized through this movie, a veritable Bible of dynamic cinematography. Another revolutionary aspect of "Mean Streets" is the virtual lack of a script. Most of the key scenes were almost fully improvised, thus sounding far more authentic than the old-style, theatrical delivery used in most American films up to that time. The actors' speech is so profanity-ridden that no screenwriter of the time could have possibly doctored anything even close. Robert De Niro's flamboyant turn as a youth on the edge of sanity is unlike anything before. In fact, the swear-fests of later crime movies (and indie classics like "Clerks") owe a direct debt to his extraordinary performance as Johnny Boy. One of Scorcese's most groundbreaking achievements was his incorporation of popular songs into the soundtrack. All of the included music originates elsewhere- Italian traditional recordings (Opera arias, Folk tunes) and for the most part, glorious, irresistible rock'n'roll of the early 60's (Motown, the Stones, Girl Groups, DooWop). The easily identifiable hits serve as atmospheric settings, adding an extra, personal dimension to any given scene. George Lucas' "American Graffiti", released in the same year, operated by the same principle, establishing a tradition that seems to expand with every coming year. As it is often the case with true independent cinema, "Mean Streets" was ignored at the box office, despite an underground acclaim that helped launch not only the great talents behind it, but also an entire school of filmmaking. May have lot its luster after over thirty years, but certainly a unique film experience and one with fine performances and some insight into some magical filmmaking to come.

This is the Best small time mobster picture. Anybody who has somthing negative to say about it must not like realism or is retarded.

I ordered Mean Streets based on a review I seen on a special on gangster and mafia movies. It is terrible. I do not recommend it to anyone.

Mean Streets is a pretty good movie. I enjoyed it, except for the ending. The movie was received prompty. I'm satisfied with this seller's product.

This movie is basically the opposite of the polished epics Scorsese is making today. I actually like this better than his latter gangster epic Casino, but not as much as I like Goodfellas. Some truly amazing sequences with unforgettable characters are set to the wonderful pop/rock soundtrack. Check it out; Scorsese and DeNiro don't make films like this anymore and may never again.

Ivan Rorick

I love this movie. Its unique in that it goes where no other film before that time was prepared to go. Scorsese takes an in your face approach to putting it all together and succeeds in carving a place for himself in "the industry" with this indie film which gives a mere glimpse of his film making genius as he takes us on a tour of real life, street life as it takes its toll on the main characters Charlie and Johnny Boy, respectively, Harvey Keitel and Bob DeNiro. Its simple, gritty, funny, dramatic, all those things in one and the soundtrack is groovy, too. I wouldn't go so far as to say that it is Scorsese's best work, but it is good, just the same. Its so wonderful because he, as did most of the cast, grew up within that environment and so they all knew how to wear their characters properly, if you will.
Many will swear this film is more realistic than The Godfather when in actuality they are both extremely realistic. One couldn't really compare the 2 because they're about entirely different things and take place at entirely different times. "Mean Streets" is not a portrayal of mafia life, per se, but rather the livelihood of what, frankly, are a few bored and confused street punks. Though there are glimpses of "the life" explored when Charlie relates to his uncle Giovanni (Cesare Danova), who is, unquestionably, a "man of honor."
In any event, Johnny Boy's dilemma of owing money to, Michael (Richard Romanus), a hawkish fellow and an unconscionable "jerk off" of a loan shark and deciding how he is going to pay him back seems to be the guts of the film. Charlie, of course, has his own questions about life, sin, in particular, and has an obsession with sticking his hand in fire. Says something about his character. In respect to that, he plays "governor" and "caretaker," basically, over his pal Johnny Boy, who, besides owing everybody money, is beyond help. He's practically insane, or perhaps, just slightly twisted in the noodle. Some of his pleasures are derived from destroying federal property, trying to shoot the lights out on top of renowned skycrapers, imagining his cousin, played by Amy Robinson, having a seizure whilst having an orgasm, and, apparently, not paying people their money, most of all, Michael.
However, its fair to say, the last few minutes of the film everyone puts their cards on the table. After, all its the end. Johnny Boy, essentially, tells everyone to go do unpure things to themselves with carrot sticks and pickles. Charlie, surprisingly, is surprised. Michael, annoyed, says okay as he looks down the barrel of an empty pistol being pointed at him by a "far too gone" Johnny Boy. This all leaves Johnny Boy and Charlie at the point of no return. Michael takes his much anticipated revenge. The whole film you're left wondering when he's going to take the overwhelming log, that is Johnny Boy's incessant defiance, out of his posterior orifice. So, this time you're like, so, now he gets pissed, as you soon come to find everyone left mangled and hopping about like bunnies after an attempt to escape his impending wrath. The ending dissapoints me, still, because I'd like to know if Johnny Boy dies near a dumpster in the alleyway. I mean, it leaves you hanging and in just as much confusion as the players themselves were throughout the movie. Not to say its a bad ending, entirely. Just somewhat unusual. All in all, as I said, its a good film. A great film. I don't think I spoiled it too much. Even if, its worth a look.

This is as real and as gritty as movies get. You've got to appreciate the feel of the film, especially if you're from New York or a similar area, where characters like those in the movie are common. You've also got to appreciate the interplay between Keitel and De Niro throughout the film. Some of the supporting acting was a bit shotty, yet I believe this story was told to bring the realism of the streets to the silver screen rather than to impress people with Hollywood glitz.

Martin Scorsese draws upon his experiences growing up in Little Italy for the film's material and characters. There is a bonus featurette called "Back on the Block" in which Scorsese and friends speak about the inspiration and basis for the movie.

This movie began the very successful Scorsese/De Niro pairing that would continue long into the future. De Niro and Keitel are great in their roles - but De Niro stands out in this movie. You will be anticipating his appearances on screen throughout.

Mean Streets was Martin Scorseses' breakthrough. Shot on the streets of New Yorks Little Italy, character and flavor of the neighborhood are made pungent through the directors keen eye and sense of place. He extracts memorable performances from Keitel (whom he had used before) and De Niro (whom he'd use again).

This movie has received tremendous praise and respect from many well-known critics and, as a measure of its ground-breaking originality, it is credited with influencing many of the most famous movies of all time, including The Godfather, Good Fellas, Casino, etc. However, if you view this expecting a linear plot and polished entertainment of the caliber of The Godfather, etc. I fear that you may be disappointed.

Imagine that you had a hand-held camera and simply followed a group of your friends around as they drank, cursed, fought, chased women, and caroused for several days and nights. You had no script or plot for the majority of your "movie", but merely relied upon your friends to talk and act naturally....even if they had nothing important to say. Throw in some guilt, atonement, nudity, gunfire, and religious symbolism....and BINGO! you have a classic....IF you are Martin Scorcese AND have friends like Robert De Niro and Harvey Keitel. As for the rest of us, we would probably end up with a really lousy "home movie" that made no sense to anyone. To be honest, I feel that some of THIS movie makes no sense to most people, but it is generally riveting and has moments of grit, humor, human frailty, and soul-piercing reality that you just don't often see in ANY movie, let alone one made 32 years ago.

It benefits from being viewed more than once. Some things which make no sense or escape your notice may become clearer and more evident with subsequent viewing. If you prefer more basic entertainment and feel that a movie should not require this kind of study and focus, then Mean Streets is probably not for you. However, if you enjoy being challenged by more complex, innovative cinema then perhaps this is just the movie for you.

I saw this movie in my local video store, and I got excited. I saw huge names (Keitel, De Niro, Scorsese, what would YOU expect?) So I got home, called a couple of friends over, and we sat and watched this movie.

This was possibly the most disappointing movie of all time. I'm not kidding at all. I seriously felt dumber after watching this movie; there was absolutely no plot. I don't know how all these people are prancing around calling it "one of the greatest hits of the '70s!" No.

Keep in mind, I'm a HUGE Keitel, as well as De Niro fan. I was so disappointed with this movie; but the problem was, there was absolutely no plot, and no transition. The actors played their characters well, but there was no room for characters in the movie. It was a huge upset; 'travesty' does not do this movie justice. No plot, no culmination, no action, no transition, no STORY. Period.

Contrary to what many reviewers may say, this is one of Scorsese's greatest films. Along with Taxi Driver, Goodfellas, and Raging Bull, it best showcases his unique and original style of directing that has made him one of the most skillful in the business. It's an indie film classic, and creates an atmosphere and aesthetic that filmmakers have been trying to emulate ever since its release. That being said, it's just the sort of production that mainstream moviewatchers probably won't get. Those looking only for a predictable, clear-cut plot with a conventional style of storytelling and acting will be lost and frustrated with the improvisational nature of this movie. Taxi Driver and Goodfellas (equally as good as Mean Streets) were both hits at the box office, because they appeal more to the masses with their general entertainment value. Mean Streets, on the other hand, tells a somewhat dark, meandering story that at times may seem like it's going nowhere.

Martin Scorsese was able to create an intimate, realistic setting for his movie by encouraging actors to improvise certain scenes, and shooting long takes that make for flowing, realistically punctuated dialogue. Newer filmmakers such as Quentin Tarantino have been heavily influenced by Scorsese's off-the-cuff manner of directing. Not every scene in Mean Streets makes immediate sense, because he often captures tidbits of the characters' lives that don't seem like they logically pertain to the plot. However, the plot itself in this movie is a nebulous entity, taking a back seat to the realistic dialogue and more pronounced themes of religion, friendship, and crime. There is a fair dose of black humor in this film, but it is ultimately more of a drama, due to the movie's dark ending, and emphasis on internal conflict with the characters, especially Harvey Keitel's excellently portrayed Charlie.

Another feat that Scorsese is accredited for in the direction of this movie is bringing two little-known actors to the forefront of Hollywood fame. The two main stars of the movie, Harvey Keitel and Robert DeNiro, now obvious household names, were nigh-unheard of talents prior to the release of this movie. Ever since Mean Streets, they slowly grew more and more famous, due in large part to their repeated roles in Martin Scorsese's future film classics (The Last Temptation of Christ, Goodfellas, Raging Bull, Taxi Driver). Scorsese can be given partial credit for bringing the actors' talents out for his films, but it should be noted that Keitel and DeNiro both deliver amazing performances in Mean Streets, not to mention their other Scorsese movies. Keitel's portrayel of Charlie's conflicted, devout Catholic gangster is spot-on, and DeNiro's Johnny Boy is amusing, fascinating and appropriately demands the viewer's empathy. Both stars help to raise this movie to its classic status.

Though not as easy or accessible as Scorsese's later work, Mean Steets established him as a creative, noir-influenced filmmaker with a deft eye for realism and intimacy. His movies are habitually more difficult than most mainstream fare, and may require repeat viewings to be truly appreciated. Mean Streets has a good chance of going straight over many viewer's heads, especially if they have had little experience with the art of independent film. Nevertheless, everyone who appreciates cinema should at least give Mean Streets a try, but it is a blatant fact that not everyone will enjoy it.

I remember taking a date to see Goodfellas when it came out in 1990 or 1991. When we left the theater I turned to my date & said "it kind of reminds me of my family". My date looked a little stunned and I had to expalin:, "well-you know--without the guns, the drugs and the killing. but the director got the attitudes just about right."

Goodfellas got me interested in Scorsese, but it took me another 6 months to see "Mean Streets".

If anything, the feeling of "it kind of reminds me of my family" became even stronger--again without the drugs, the murder and the guns, but until "Mean Streets" I'd never seen a movie where I felt like I knew everyone in the movie. It was intensely personal.

There's a lot of quasi-snobby stuff written about how Mean Streets is a classic movie. People also say citizen kane is one of the greatest films ever. I've seen CK a couple of times and I think it's a pretty good film. I liked the story & I liked how it was filmed. But I probably fail to appreciate CK's greatness because i take a lot of its groundbreaking film-making for granted.

Mean Streets might make you feel this way, too. There isn't much in the way of a standard plot in the movie. People lounge about, get in barroom brawls for dumb reasons. People argue about debts, about right and wrong, and yeah, a couple of people get shot.

But if you're going to love the movie, you're either going to have to appreciate the fancy breakthrough cinematography or you're going to have to be the type of person who appreciates watching great actors and great characters go about their business, living their lives, like we all might have done in the early 1970s.

That being said, I think the "mook" scene is one of the best movie scenes-ever.

Raw tale of sin and redemption in NY's Little Italy. Arguably the precursor to every mob street drama after it, "Mean Streets" showcases Scorcese's cinematic ingenuity in its gestation, particularly where his obsession with religious motifs is concerned.

When the term "gangster film" is brought up in a conversation, especially on university campuses, such motion pictures as "Carlito's Way," "Donnie Brasco," "The Godfather," "Road to Perdition," or even director Martin Scorsese's "Goodfellas" rocket to the fore. However, arguably the grittiest, most subtly vibrant take on the mob is naturally overlooked by college-aged viewers more familiar with mobster hits of the last 20 years.

Scorsese was relatively unknown in 1973, the year of the film's release. He served as associate director as well as head editor to the documentary "Woodstock" in 1970, but it wasn't until the outpouring of a semi-autobiographical tale set in the stark back alleys of New York's Little Italy that Scorsese acquired international critical acclaim. Not since "The Graduate" had a film so deftly interpolated popular tunes of the time into its core. Scorsese's crafty usage of The Rolling Stones, Eric Clapton, The Shirelles and The Ronettes acted almost as a subconscious voice of reason throughout.

"Mean Streets" is every bit a semi-autobiographical work. Born in New York in 1942, Scorsese moved with his parents to the Lower East Side when he was eight. An asthmatic youth, Scorsese spent a great deal of time either at the cinema or homebound peering out the window in observation of the neighborhood, fantasizing about the underworld goings-on of the fancifully cloaked gentlemen of Sicilian descent - otherwise known as the mafia.

At the age of 14, Scorsese was set on becoming a priest, only to be rejected by his college of choice and ultimately turn to a career in filmmaking. It is his strong affiliation with the Catholic church that seems to catapult his directorial flair to a category unto its own. Although brutal in nature, his films are marked with a profound underlying spiritual fiber, none more so than "Mean Streets."

Charlie Cappa, portrayed delectably by then-cinematic novice Harvey Keitel, bears a striking resemblance to Scorsese. Cappa is an ultra-christened tough guy. He devotes a portion of his existence to maintaining a watchful eye on the troublesome Johnny Boy (Robert De Niro), a smart-ass delinquent with outstanding debt around every nook.

Cappa exclaims while on the beachfront with Teresa, Johnny's cousin, "Who's going to help him if I don't? Nobody tries anymore - to help, that is. Saint Francis of Assisi had it all down. He knew. He knew."

His romantic interest, Teresa, is condemned as insane due to her epilepsy. Despite his dire attempts to right all wrong and keep the parables of Christ in his daily processes as a gangster, Cappa gets caught in the crossfire and encounters his own physical hell - although his essence remains intact. In an early voice-over, he not only explains this inner turmoil, but provides a contemplation on the film as a whole:

"Pain and hell has two sides - the kind you can touch with your hand, the kind you can feel in your heart, your soul, the spiritual side; and you know the worst of the two is the spiritual."

i saw this movie in film class in college. The teacher said it was a beautiful film, and perhaps she's right. i thought the movie was too boring, and that it was filmed too dark. i mean, sometimes it was hard to see what was happening, it was so dark! But you should check it out and make your own judgement.

First of, I'm a HUGE fan of Martin Scorcese's "Goodfellas" and "Casino", those movie never get old. I realized this was his first film but come on. The plot is basically about Harvey Kietel growing up in New York City, dealing everyday with problems: the local mob, his epileptic girlfriend, his idiot best friend, the cops, etc. A one-star is too low, and I would've given this movie two stars but I liked seeing Robert DeNiro playing a more comic roll, as opposed to other major movie roles he's had (Casino, Goodfellas, etc). In this film, he plays a punkass city kid named Johnny Boy with a loud mouth and no respect. So that was entertaining. Otherwise, a weak movie. I'm a huge fan of mafia/crime movies but it didn't do it for me. Sorry.

The first time I saw "Mean Streets" was on a double-bill with "Straw Dogs" at a repertory film house off the University of Pennsylvania in 1981. Now I can't put my put my finger on it but I had seen "Raging Bull" shortly before this but that film did not have the visceral impact on me that "Mean Streets" did. Where do you begin with this film? The dynamic soundtrack, the neighborhood ambiance, the great editing and cinematography. Primarily this film has two great characters in Harvey Keitel's "Charlie" and Robert DeNiro's "Johnny-Boy". They couldn't be more polar opposites. Charlie is essentially a moral man who tries to make peace with the immoral world in which he inhabits. Johnny-Boy is a loose cannon, oblivious to the choices that he makes, whose world could blow up in his face and he wouldn't have a clue. Charlie is misguided by feeling that he has to make some sort of penance in reigning in Johnny-Boy. Charlie doesn't realize how impossible this task is in the world he inhabits where order and chaos co-exist and order is enforced at the point of a gun. Both Keitel and DeNiro make dynamic entrances in this film even though they had previously appeared in more obscure films. One note about the commentary track on this special edition. A gripe I've had about previous editions of Scorsese films is that they lacked a commentary track, however, maybe I should have kept my peace. His commentary doesn't seem to be specific to the action on the screen and he speaks a lot of film-school arcana. It's intermittently interesting but not greatly so.

This is a fantastic film, and I'm going to tell you why I think so, and by the time you finish reading this, you just might change your mind about it, or run out and have to see it.

The music is great. Perfectly fits the time period and setting, I dunno how much they had to pay in royalties for the songs in this film, but I love em'.

The camera work is fantastic. There's a scene where the camera gives you charlie's viewpoint, stumbling, wobbling across the bar, lights flashing, people dancing, music blaring, then zooms out to his smiling happy face. Then there's the filming of the street festival and the overall way which New York is captured so perfectly. It feels like you are really in the city, the movie has that gritty feeling to it.

The dialogue is great, many of it is ad libed by Deniro and Keitel. This is the beginning of ad libbed dialogue for deniro, the culmination being his speech in front of the mirror in taxi driver; "You talkin' to me"? There's a scene where Keitel confronts Deniro outside the bar to ask him about his debt, the exchange is perfect, it could never have been written and its executed beautifully.

The acting is also fantastic throughout.

So, great acting, great filmwork and great dialogue all come together to create a wonderfully realistic film.

Now, the end of the movie, maybe you didn't understand it, so I'll explain the film. I'll try not to spoil the ending.

Ok, so Charlie does some bad things, he works for the mob after all, and he wants to repent for his sins, so, after going to church and then later seeing jonny boy in a bar he thinks that God has asked him to repent for his sins on the streets, by helping out Jonny Boy. He doesn't believe that saying a few hail mary's or confessing washes away one's sins. So enter the walking train wreck that is Jonny Boy.

Now, what type of person is Jonny Boy? He has no sense of responsibility, he does not answer to anyone, he does not obey any rules, never does what is expected of him.

Hmm, so what type of person is Charlie? There are several scenes in the film that let you know what type of person charlie is. The statement Charlie loves everybody and everybody loves Charlie almost sums it up. Charlie wants to please everyone. But his life is full of conflict. You can't be in the mob and be religious, it just doesn't work that way. You can't hang out with guys who are racist and date an African American. These are just a few examples, but suffice to stay that Charlie wants everyone to like him, the local mob boss, his friends, his God, but he also wants to be happy and do the things he wants to do. There is conflict in all of this. Some of the other people that charlie wants to please, eg., God and the mob boss, have conflicting agendas. Some of the people that charlie wants to please conflict with what he personally wants to do with his life, eg. he is embarassed to be dating the epileptic because he thinks it shows weakness to his friends, but he loves her and she makes him happy.

You cannot please everyone. The irony of this film, and this is a little spoiler, is that while charlie is trying to save jonny boy, he should take a few lessons from him. Jonny Boy does whatever he wants without thinking about who he might upset, or disappoint. Charlie is the complete opposite. Yeah, Jonny Boy is destructive and his life is falling apart, but the point is that the two of them represent two opposite extremes. This is why the end of the film is tragic, its the lesson that you can't make everyone happy, that life is full of conflict, the conflict may be between different people in your life which you try to please, or between yourself and other people in your life. These basic conflicts and how we deal with them sum up who we are as human beings.

So there are many reasons why this film is great, I highly recommend giving it a second chance. I watch it every once in awhile and it really is one of my favorite films.

This movie is great mainly because of the acting of Robert Deniro. He is explosive in his role as Johnny Boy a degenerate who owes bookies and shylocks. His friend Charlie, played by Harvey Keitel tries to save him. Movie shows little Italy in the seventies and has an authentic NY feel.

It is hard to even start a review of this classic, because there are so many highlights to address. This film is basically the precursor to many of Scorsese's other classics, such as Goodfella's, Casino, etc., as well as films by other directors, such as Tarantino. For example, I believe this is the first film to use popular music as a background to many of the scenes, and now this is seen as commonplace. The dialouge is awesome, especially between DeNiro and Keitel, and this film is really just a great period piece as a look at Italian-American life in New York's Little Italy during the early 1970's.

'Mean Streets' is one of the few Scorsese films that is not good. In fact, it is quite bad. Aviod it, but only watch if you are curious about Martin Scorsese films.