Mean Streets ★★★★

    When a director creates a picture that instills his distinctive vision, in this truly delicate of art forms, it is simply a beautiful thing to watch. "Mean Streets" is Martin Scorsese's third directorial ambition, and the second film in which he heavily contributes to the script. Although seemingly a gangster film, set in the Little Italy district of New York City, Scorsese's breakthrough film explores the intricacies of the human condition and the guilt associated with sin.

    Released in 1973, this picture became the hallmark of one of the most brilliant and respected careers of any filmmaker in cinema history. Scorsese's elegant amalgam of commercially successful soundtracks, and rich characterization, culminate in a memorable experience that sheds light into the life of one small time mobster, who desperately tries to balance his family's business with his personal affairs.

    Charlie is a young Italian-American, who is stuck between a life of devotion and a life filled with transgression. He finds himself to be the adhesive that bonds three neighborhood friends together, to produce a small band of brothers. Tony, a local bar owner, is a reserved individual, who provides a sanctum for Charlie in the form of alcohol, strippers, and gambling. Michael, an inept street level businessman, is a loan shark and life-long friend of Charlie.

    Last, but certainly not least, is Johnny Boy. An immature and brash young hot head, Johnny Boy provides Charlie with small doses of laughter and heavy doses of stress. He is essentially a walking incarnation of chaos. Much like The Joker in Christopher Nolen's "The Dark Knight," Johnny Boy does things just to do them. He doesn't know why he places small bombs in street mailboxes or climbs on roofs with a .38 caliber revolver to shoot at the Empire State Building; he just does.

    Amid the tension created by these three individuals rests Charlie. His lifelong ambition of becoming an integral piece to his uncle's mob is in a fragile state, as Charlie continues to protect and cover debts for young Johnny, and persists to indulge in a romantically inclined relationship with Johnny's cousin, Teresa. Not only does he feel that Johnny Boy is his responsibility, but Charlie genuinely believes in helping others.

    This film's plot is not constructed in a unified fashion. Considering that the thematic concern rests on the delineation of Charlie's characterization, any action and the subsequent effect is utilized to showcase the personality of Charlie. With this being the case, we find ourselves immersed in motifs progressing to a theme of guilt, and self-loathing, from living in a world of sin.

    Charlie frequently exercises penance in the form of physical pain. He thrusts his hand over an open flame to feel the tangible agony that his sins generate. A feeling that will be multiplied a million times over in the dark loneliness of hell; an infinite torture of the soul.

    To provide us with this fascinating depiction surrounded by culpability, is Harvey Keitel as Charlie. Keitel is nothing short of brilliant in a role that defined his early career. His embodiment of this character is a testament to the passion and enthusiasm for this performance. He displays an excellent sense of chemistry with his fellow actors, which creates a conceivable life on the streets of New York City--a subtle truth of how it is.

    Among the other actors, whose interaction with Keitel seems natural and fitting, is Robert De Niro as Johnny Boy. De Niro is impeccable as the wild young man who looks up to Charlie, and tests his relationships with everyone else. Johnny Boy is essentially a trial of will for the established Charlie, as Charlie attempts to administer peace and understanding into everyone around him, especially Johnny.

   Not only does De Niro leave us with a sensational performance (that jump-started a prestigious career), but he provides one of the most tension filled scenes, which leads to a climatic ending of unforeseen proportions.

    The year of 1973 was a monumental period for filmmaking. It left us with two prime examples of what could be accomplished with a superior director manipulating the camera. Although Scorsese had directed two previous films, he was relatively unknown, and his particular style had not manifested itself until now. Another amateur filmmaker, who made a bold statement in this year, was Terrence Malick, with the aesthetically pleasing "Badlands."

   "Mean Streets" is a classic piece of cinema designed to entertain us with its captivating dialogue and test our intellectual minds with its thought-provoking symbolism. Scorsese highlights his theme with the tone of this direction and the environment of Charlie. Our lead character is free from sin outside of the bar; however, once inside, the red-tinted lights permeate a sense of impurity. His inner struggle to break free from this life is the epitome of self-eradication.

   "I guess you could safely say that things haven't gone so well tonight. But I'm tryin' Lord. I'm tryin'."