Review of Mean Streets

Mean Streets saw its theatrical release in early in 1973. Directed by a young bearded director by the name of Martin Scorcese, the film featured a then unknown Robert Deniro as well as a young, clean cut Harvey Keitel. The film was based on Scorcese's experiences growing up in New York's 'Little Italy' in the early sixties. Scorcese would spend hours with fellow scriptwriter Mardik Martin in a parked car, observing his old neighborhood for any ideas to add to a movie he was planning to make called,' Season of the witch'. This film would later become Mean Streets. It revolves around Charlie (Keitel), a catholic man trying to work his way up the mob hierarchy. Unfortunately, he is also in love with a woman (Amy Robinson) who is epileptic which is a big no-no in the mob world. Just to make matters worse for Charlie, he also sticks his neck out for Johnny Boy (Deniro) who is highly in debt to a loan shark named Michael. As the film progresses, it becomes apparent that Johnny Boy has no intentions on repaying Michael back anytime soon. Take all of this, blend it together with a smooth 60's soundtrack and you have the fabric that makes up Mean Streets. The film was originally planned to be produced by Roger Corman on one condition; Corman wanted all black actors! Obviously this didn't work out and another producer was brought in. When viewing Mean Streets, you can't help but notice the extensive use of the steady cam! At one point in the film, Keitel is actually wearing a steadycam-esqu brace on his body while "Rubber Biscuit" by The Chips plays vigorously in the background. Scorcese actually received some criticism from friend and fellow filmmaker Michael Powell since Powell argued that many of the steady cam shots were too jerky and should have been replaced with dolly shots instead. In some cases it's easy to see Powell's point, but for the most part I actually prefer the jarring feeling that the steady cam brings to the picture. The pacing of Mean Streets relies heavily on this disconcerted feeling and I feel the constant use of the steady cam helps to employ this-although I do feel bad for whoever the steady cam operator is…ouch! A lot of these early camera shots would later influence filmmakers such as Quentin Tarantino and would have a profound influence on Scorcese's own movie, 'Casino'. The acting in Mean Streets is excellent throughout. Keitel is spot on as Charlie and Deniro's 'Johnny Boy' is a great introduction to his often-copied method style of acting. In one scene, Deniro actually got into a live argument with Richard Romanus who portrayed the loan shark Michael. The two had been in an argument for the majority of the 25-day shoot so Scorcese, ever the entrepreneur, played off on this with sound results! The editing throughout the movie works parallel with many of the off angle camera shots. It does works out well in the end though. This was one of the few Scorcese pictures to not have Thelma Schoonmaker as editor. Rather, Scorcese employed a young Sidney Levin for the job. Music also plays a pivotal role in Mean Streets. It features music from the 60's including a few early Rolling Stones tracks to boot. One final tidbit worth mentioning about this film has to be the enlivening quotes! We hear Johnny Boy's,"It's a good twenty dollars!" rant to Charlie's, "You know Joey Clams?" argument. The subtextural humour is always present and adds a subtle flair to an otherwise perfect sophomore film from Martin Scorcese.

9.5/10