Classic Corner

Mean Streets (1973)

By: Michael Robert Kujak

Posted: 10/8/09

Mean Streets was the beginning of a new form of art. The careers it produced and the styles it created are still seen in film today. Scorsese's cinematic expressions come through in every scene. The long tracking shots, rock and roll music and violence are all present and they all taste so sweet knowing this is the start of something special. Scorsese's influence will eventually become so powerful, that this film isn't just a look at the future of his career, but a look at the future of film itself.

In New York City's Little Italy, Charlie (Keitel) is a small-time member of the wise guy community who collects protection money. His friends Tony and Michael are part of the community, but his other friend Johnny Boy (De Niro) is unreliable and therefore must be shunned. Charlie's secret girlfriend Teresa has epilepsy, and so must also be shunned.

When Charlie's uncle Giovanni offers him a restaurant - the first step up the ladder - Charlie is forced to choose between his desires for power, his love for Teresa and his duty to protect his friend Johnny Boy. Written in 1973, this is the first non-student film directed by Scorsese, and could be considered the first of his multiple masterpieces.

Appreciating the film relies on the remarkable performances. This film debuts Robert De Niro, Harvey Keitel and David Proval, whose careers are still going strong after 35 years. All the actors are dancing to the beat of Scorsese's drum. Keitel's character is the focus of the film, and his performance couldn't be better. This is a character that is stuck between two worlds and he's a classic Scorsese "misfit" that is looking for answers. De Niro's entrance in the film is also historic, because it sums up the brilliance of one of the most respected careers Hollywood has ever known. While the story is rarely present in the film, the characters drift in such interesting progression that it still holds up as an informative and entertaining film.

Next, it's important to look at the person that has tied this whole production together: Martin Scorsese. It's like watching a young artist experimenting with different brush strokes, and it's absolutely beautiful to watch. One touch of his is when he introduces his characters with their actual character titles on the screen. This is a signature move that will be copied countless times in the future by hundreds of directors in the industry.

Another signature is his use of music. He lets the beat of the music sync with pulse of the film. The majority of the soundtrack includes songs exclusively from Scorsese's personal record collection. Without any perspective on what Scorsese will become, it would be amusing to see people's reaction to these techniques that haven't been seen before. It's a little messy after multiple viewings, but the imagery is done so well that it's hard to complain.

In a fun way it's hard to express the thematic elements of the movie. Every scene has something to say and if you look hard enough, you'll find something. Scorsese is constantly trying to show us a portrait of what life was like in Little Italy. The film is very personal to Scorsese, and he spends so much intimate time with the characters, you eventually end up feeling just as trapped as they do. It ends up being a twisted re-telling of Mice and Men with a different set of misfits and a style only Scorsese can create.

To sum it up, it's a combination of French new wave, classic cinema and noir thrown into the dirty streets of New York City. However, there is enough character development and famous performances for the average movie-goer to be satisfied with the experience. If readers enjoy Mean Streets, check out Scorsese's next project Shutter Island (2010) starring Leonardo DiCaprio and set to release on December 18. This will be the first time Scorsese explores the "thriller" genre since Cape Fear (1991), an entertaining film that gained significant acclaim and praise from criticism and audiences alike.

4 out of 5