The Big Picture "Honorable men go with honorable men." In one sentence, Cesare Danova's Giovanni sums up the exact opposite kind of men that we follow in Martin Scorsese's explosive hangout gangster movie, Mean Streets. For his third feature, Scorsese takes his loosest approach to narrative filmmaking yet. With Mean Streets, we aren't witness to the epic rise and fall of powerful criminals like in GoodFellas or The Wolf of Wall Street.
'Mean Streets' is a Scorsese Gangster Movie at Its Rawest Then came Mean Streets, a project that feels so deeply ingrained in what its director would be stereotyped for that it feels reactionary. This is clearly not a director-for-hire film. If Boxcar Bertha feels like Scorsese taking a job, then Mean Streets is him making a movie like his life depends on it, like it's the last movie he'll ever make. This picture is the vision of an artist who has nothing left to lose.
'Mean Streets' Invites You to Hang With the Gangsters From there, we travel with Cappa as he tries to cover his friends' backs, sparks an initially charming yet ultimately toxic relationship with the girl next door, Teresa Ronchelli , grapples with his Catholic faith, and runs a few errands for mob boss uncle, Giovanni. At first, Cappa's misadventures throughout New York City might feel a bit aimless.
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