"Yeah"
"Ey?'"
"Eyy"
Generally regarded as Martin Scorsese’s first great film and
the third in my Scorsese in Sequence feature,
Mean Streets is perhaps Scorsese’s
most personal film to date. Centred in Manhattan ’s
Little Italy neighbourhood that Scorsese grew up, in the film charts the day to
day lives of a group of young Italian American men. Charlie (Harvey Keitel) is
a semi connected guy who works for his uncle, a local mafia boss but dreams of
running a restaurant. He feels responsible for his no good friend Johnny Boy
(Robert DeNiro) who owes everyone in the neighbourhood money and has no
intention of paying it back. Michael (Richard Romanus) is a loan shark who
Johnny Boy owes a huge debt to. Johnny Boy tries to avoid the people he owes
but this becomes difficult as both he and Michael frequent Tony’s (David
Proval) bar.
The film’s opening titles are shot in the style of a home
movie and show Charlie and his friends posing for the camera outside bars and in
the street. The camera then appears to zoom into the home video as the film
itself begins. This creates an almost documentary realism as you feel that you
are watching real people go about their lives. The rest of the film is
generally shot from the middle distance, forgoing the close-ups of Who's That Knocking at my Door. In that
film it was as though the audience was invited to be a part of the story
whereas in Mean Streets we are
observing what is happening. We are always close to the action but never close
enough to get involved. This I believe is due to Scorsese’s own experiences as
a youth in the neighbourhood. He was always on the fringes of these groups,
able to observe them but never really able to take part. We see the film
through his eyes.
The film is almost autobiographical. Scenes are shot in the
building and apartment of one of the director’s friends and other locations
around the neighbourhood that Scorsese knew well. Only a few days were actually
shot on location though with most of the interiors shot later in Los Angeles . It is
perhaps due to Scorsese’s intimate knowledge of the area as well as master film
making that it is never apparent when we are in New York
or L.A. The
film looks at many of the issues that Scorsese and the people like him had to
deal with while growing up. A central theme is Catholic guilt. Charlie has
immense guilt though for what is never really explored. He almost takes Johnny
Boy under his wing as a sort of penance or atonement as a way of absolving his
sins. He feels that if he can protect Johnny Boy and set him on the straight
and narrow then he is paying for his sins. Other issues central to the film are
racism and homophobia. Scorsese has talked in interviews about not being
allowed to or wanting to mix with Jews, Irish or black’s as a kid. In the
insular Little Italy neighbourhood you just didn’t. In the film, Charlie is
drawn to a beautiful black dancer but is torn about whether to ask her out and
feel the wrath of the community. In the end he does but isn’t able to go
through with the date. In another scene a man is visibly disgusted when he is
told that his girl has kissed a black man. These themes are explored in greater
detail in De Niro’s directorial debut A
Bronx Tale and are obviously close to his heart given his relationship
history.
The film uses a subtle voiceover which is often barely noticeable.
Charlie talks to himself, the audience and God at the same time, often explaining
his decisions and choices. In one telling scene late on, Charlie vocalises this
out loud, much to the amusement of Johnny Boy and his girlfriend Teresa (Amy
Robinson). The film is set during a large feast during which time emotions are
heightened. This adds to the intensity of the film and the feeling that the
characters are trapped. All they know is the ten or so blocks of Little Italy.
On one occasion when the guys go for a drive they get lost just a few blocks
away from the neighbourhood. It’s as if the world ends where the neighbourhood
ends. This is again repeated in the climactic scene in which Charlie and Johnny
Boy try to escape Manhattan over the Brooklyn Bridge .
The tone is set early on for De Niro’s Johnny Boy. We first
see him placing a bomb in a mail box and walk away, turning his head in
anticipation of it exploding. It is obvious from the outset that Johnny Boy has
only two options; death or expulsion. In another scene, my favourite, he is in
the back room of a bar explaining why he has no money to pay Michael. He
manipulates Charlie to such an extent that Charlie puts his own neck on the
line for Johnny. The scene itself was improvised on the spot, a day after
shooting was meant to have wrapped. It is an incredibly realistic sounding
exchange and adds to the realism of the rest of the film. It sometimes feels as
though the whole film was improvised ala Mike Leigh but in fact apart from some
improvisation during rehearsal it was all scripted. It is testament to how well
Scorsese wrote and knew the characters as well as Keitel and De Niro’s acting
abilities that the film feels so free flowing and spontaneous. Mean Streets happens to mark the first
occasion at which De Niro and Scorsese worked together, the beginning of one of
the most prominent Director/Actor partnerships of the last forty years.
As well as its realism the film is often noted for its
music. Mean Streets was one of the
first films to forgo a traditional score and instead use Rock & Roll.
Scorsese had certain songs in mind when he wrote the film in the mid 1960s and
intertwined it with the script. The music is as much a part of the film as is
the dialogue. The film is perhaps most famous for its use of songs by The
Rolling Stones. Each Stones song set the film back $15,000 which was a large
chunk of the film’s $300,000 budget. Scorsese didn’t just rely on Rock &
Roll though. He used music from the 50s as well as Italian Opera to create the
world of Mean Streets. As he himself
walked through the neighbourhood he would he all sorts of music coming from
apartments and social clubs and wanted to recreate that for the film.
Mean Streets has
gone down in history as Scorsese’s arrival as a Director. The film is personal
in the extreme and introduced a lot of people, including myself to the Italian
American way of life and along with The
Godfather helped to spawn many successful books, films and TV shows. Its
hyper realism extends to all quarters including the violence. It isn’t glossy
and choreographed but messy and silly as a real fight would be. The dialogue is
real and sounds almost alien at times. The characters are talking English but
with their own unique pattern, words and inclination. The acting is superb
throughout and marked a breakthrough for both Keitel and De Niro. For Scorsese
it opened doors to make the films that he wanted to make and gained him a
nationwide following. The film is an example of a Director doing what he loves,
where he loves and the results are spectacular.
9/10
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