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Mean
Streets (1973)
Review
Martin
Scorsese draws inspiration from Jean-Luc Godard in this thematic
follow-up to Who's That Knocking at My Door. We're brought back
to New York's Little Italy where small time crooks and gangsters try to
find a way to enjoy life – or rather get by. It is a film filled with
realism, which at times is stirring, but the unnarrative, dense
tone makes it a strenuous experience, especially as Scorsese centres the
film's conflict around a no-good character whom nobody really cares for
(and understandably so). Harvey Keitel's is by far the film's most
interesting character, and it is through him, in the more lenient
scenes, that Mean Streets comes alive in its atmospheric
portrait. Scorsese shows abundances of flair and technical
resourcefulness, but the film is too tapered and laborious to really
attract. There is no joy in front or behind the camera, and the film is
more style than substance. Helped by Paul Schrader, Scorsese had a lot more to say with Taxi
Driver three years later.
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