Fifty years on, this is why Martin Scorsese's first gangster film, Mean Streets, remains his best of all time.
The Big Picture "You don't make up for your sins in church. You do it in the streets," says Martin Scorsese in the opening narration of his formative gangster picture, Mean Streets. This line defined the overarching thematic ideology of Scorsese's remarkable career, one that powers on with the upcoming release of Killers of the Flower Moon.
Martin Scorsese, a director averse to plot, began his career as one of the finest filmmakers in modern cinema by pouring his heart, soul, and mind onto the screen. The typical three-act structure is almost non-existent. At just 30 years old upon filming, Scorsese is still contemplating where his true devotions align, and the product of this real-time self-examination is Mean Streets. The film is the closest instance of Scorsese penning an autobiography.
Scorsese's first proper morality tale is realized in Mean Streets through some of the director's most spontaneous and lively filmmaking. The director's maverick deployment of pop music was cemented in this film, with the juxtaposition of vintage songs from the girl groups The Ronettes and The Chantels played alongside jarring circumstances such as a manic bar fight.
How Does 'Mean Streets' Embody Martin Scorsese's Worldview? Mean Streets wholly embodies Martin Scorsese as an artist and human being, more so than any of his future films that are uniquely personal but are expressed metaphorically through various periods and circumstances. The intersection of faith and crime, the director's most fiery thematic trait, is the thesis of Mean Streets. With faith and crime comes repentance.
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