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Scorsese's famous works
Drew 2021-12-08 08:01:44
Adapted from a documentary of the same name directed by Martin Scorsese in 1970 and starring Robert De Niro, this distinctive style and moving plot is released, marking the most prolific and important director and star in the history of film Born. With the "Little Italy" area as the background, it shows the extremely empty and depressed mental state of Italian American youth doing nothing all day long. In addition to the profound practical significance of the film, "Poor Streets" is also very powerful in the expression of film language. The anti-traditional structure, frantic tone, and true and outstanding performance style all showed unique charm in that era. In a sense, many of the characteristics embodied in "Poor Streets" also laid the foundation for Scorsese's style of work: the scene is in New York, the struggle of the lonely person, pointed shoes, rock, and opera music. , And endless killings. Although the box office was not satisfactory after the release, it was unanimously affirmed by the critics, and some film critics even called it "the truly original work of this era, the horn of independent production."
Extended Reading
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Amiya 2022-04-24 07:01:06
So De Niro is really the prototype of Jacky Cheung's expression pack. Mean Streets VS Mong Kok Carmen. It was messy at the beginning + the dark humor of all kinds of punks. When clarifying the relationship between the characters, I gradually saw this miniature of the Italian neighborhood in New York. The Italian is family-oriented, just like his life is covered by his immature younger brother. The final tragedy is doomed. 170604
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Martina 2022-03-25 09:01:09
The visual effects are not the same as Martin's in the middle and late stages. They are very realistic. Harvey has a drunk realistic shooting method when he is drunk. The chatter promotes the plot, and the topic switches without meaning. I wonder if Quentin has learned from him. The music is very 60's. The shadow of the Vietnam War was poked from the side. Even if you are in the underworld, don't be friends with pure idiots. It's nonsense to treat it as self-salvation. . .
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Johnny Boy: Hey, why don't you lower the jukebox, I can't hear nothin'.
Joey 'Clams' Scala: Hey, the girls like the music loud.
Johnny Boy: Girls. You call those skanks girls?
Joey 'Clams' Scala: [to Charlie] Hey, what's a matter with this kid, huh?
Johnny Boy: Hey, there ain't nothin' wrong with me my friend, I'm feelin' fine.
Charlie: Keep your mouth shut.
Johnny Boy: You tell me that in front of this asshole?
Joey 'Clams' Scala: Alright, alright, we're not gonna pay. We're not paying.
Jimmy: But why? Joey, we just said we were gonna have a drink.
Joey 'Clams' Scala: [Joey interupts] We're not payin', because this guy, this guy's a fuckin' mook.
Jimmy: But I didn't say nothin'.
Joey 'Clams' Scala: And we don't pay mooks.
Jimmy: Mook? I'm a mook?
Joey 'Clams' Scala: Yeah
Jimmy: What's a mook?
Johnny Boy: A mook, what's a mook?
Tony DeVienazo: I don't know...
Johnny Boy: What's a mook?
Jimmy: You can't call me a mook!
Joey 'Clams' Scala: I can't?
Jimmy: No...
Joey 'Clams' Scala: [pause] I'll give you mook!
[punches Jimmy in the face]
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Oscar: Look Charlie, you're a good boy. Will you just tell your uncle that I have nothing. There is nothing to give him. No envelopes with cash inside, no checks, nothing.
Charlie: That bad, huh?
Oscar: I can't make this week's payment and if this keeps up not next week's either.
Charlie: Not next week's either... listen... you tell that to Giovanni, not me.
Oscar: Listen, I should wrap up this place in a ribbon and hand it to him, you know that. I don't need this aggravation. I'm getting old.
Charlie: He'd rather have the loan payed, you know that.