Scorsese Collection, Vol. 2 (7 Discs) (Widescreen) product details page

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Scorsese Collection, Vol. 2 (7 Discs) (Widescreen)

Cate Blanchett, Robert De Niro, Harvey Keitel

Director: Martin Scorsese

released: May 15, 2007

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$19.99 Online Price

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"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, Martin Scorsese examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (Cesare Danova) and his desire to live his life like St. Francis, Charlie (Harvey Keitel) takes on his energetically unhinged friend Johnny Boy (Robert De Niro) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (Richard Romanus). Despite his promises to his epileptic girlfriend Teresa (Amy Robinson) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director Francis Ford Coppola transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in The Godfather (1972) and The Godfather Part II (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1983), and Goodfellas (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as Spike Lee and Quentin Tarantino, among many others. Lucia Bozzola, Rovi

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  • Online Item #: 11988574
  • Store Item Number (DPCI): 058-23-1045
  • Made in the USA or Imported

The Aviator is a rousing entertainment that does not shy away from the darkest aspects of Howard Hughes' life. The first hour of The Aviator feels like the most fun Martin Scorsese has had behind a camera in over a decade. The extended sequence of Hughes attempting to get Hell's Angels completed to his detailed ideal is the closest Scorsese himself has ever come to an onscreen biography of his own work habits. A notorious obsessive, Scorsese recognizes those traits in Hughes and with the assistance of a never-better Leonardo DiCaprio creates an affectionate but realistic look at Hughes' successes and demons. Though the film feels a bit overlong, it never loses the audience's interest, thanks in large part to DiCaprio's determined blue eyes. Those eyes are always able to communicate the intensity of Hughes' feelings -- be it his passion for women and aviation, or his fear of losing control. He is matched in the early part of the film by an as always first-rate Cate Blanchett, who manages to embody Katharine Hepburn without turning her into a caricature, showcasing her intelligence and humor without shying away from her own faults. They make arguably the most sympathetic couple in a Scorsese film since Kris Kristofferson and Ellen Burstyn in Alice Doesn't Live Here Anymore. From his decision to replicate the look of the old two-strip Technicolor process (hence the blue peas and the blue golf course), to his first ever use of CGI effects, Scorsese utilizes every tool at a filmmaker's disposal. But for all of the filmmaking pyrotechnics, it is the clear-eyed empathy Scorsese brings to The Aviator that makes it one of the most emotionally rewarding films of his career. Perry Seibert, All Movie Guide

Mean Streets was not Martin Scorsese's first film, but it was the first one that really mattered, an alternately troubling and exhilarating look at one man's obsessions and at a subculture that other movies rarely examine beneath the surface. Scorsese's fascination with sin, redemption, guilt, and crime first bore real fruit in Mean Streets, and in many ways Charlie (Harvey Keitel) is the ultimate Scorsese character: a sincere Catholic who, as a low-level gangster, has chosen to live outside the laws of God and Man, and who tries to find a penance and personal moral code that will mean something to him. Charlie's inner turmoil underscores the film's every movement, as his loyalties are torn among the church, his boss Giovanni (Cesare Danova), his irresponsible best friend Johnny Boy (Robert DeNiro), and his epileptic girlfriend Teresa (Amy Robinson). Meanwhile, Scorsese and his camera revel in the details of Charlie's world, finding a dizzying excitement and strange beauty in the violence, drunkenness, and intrigue of life along the criminal margins. Charlie seems to have one foot in the present and the other in turn-of-the-century Sicily, and the soundtrack, which combines the rickety Italian folk melodies of the Feast of Gennaro with classic jukebox rock-and-roll (drawn from records in Scorsese's own collection, complete with scratches), plays this duality for all it's worth. Mean Streets is packed with superb performances (it made Keitel and DeNiro major names overnight, and deservedly so) and remarkable moments that stick in the memory long after the film is over: the drunken welcome home party, the fight in the pool hall, Johnny Boy's strange little dance while Charlie is trying to get him out of town. If Scorsese's first two films were about refining his ideas and learning his craft, Mean Streets was where he first put the pieces together properly, and the result was the first great work from one of the most important filmmakers of his generation. Mark Deming, All Movie Guide

Seventeen years after revising the book on gangster movies in his breakthrough Mean Streets, Martin Scorsese returned to the netherworld of Italian-American organized crime with this stunningly ambitious, ferociously entertaining look at one man's rise and fall in a Mafia family. Shot and edited with a propulsive sense of rhythm that Gene Krupa would envy (this may be the fastest 150 minutes in film history), Goodfellas explores the 30-year career of Henry Hill (Ray Liotta) as a "mechanic" working for mob boss Paulie Cicero (Paul Sorvino). While most films about gangsters attribute their characters' criminal lives to greed or sociopathic behavior, Scorsese makes it clear Henry and his friends Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci) are gangsters because they enjoy it: they like to steal, they enjoy violence, and their "work" allows them to profit from these qualities, which would be a hindrance in nearly any other career. However, while the film offers a point-blank look at New York's criminal underworld from the '50s to the '80s, Scorsese also uses this story as a unusual but clear moral fable. In the first few reels, Henry and his partners follow a strict code of honor and make sure to obey Cicero's wishes: you pay tribute to the boss, you stay away from dealing drugs, and you don't kill anyone unless it's absolutely necessary. By the mid-'70s, these guidelines have been forgotten, and as Henry, Jimmy, and Tommy slip away from Paulie's corrupt but strictly ordered ethical universe, it leads only to death and betrayal. Scorsese has long been fascinated with the actions of men searching for a moral compass in a faithless land, but he's rarely told the story with such kinetic force and audacious skill. Mark Deming, All Movie Guide

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