goodfellas

also in general people have just talked abt this film too much, and very rarely is anything new said about it. for something somewhat new see the scorsese chapter in gilberto perez's the material ghost.

mean streets has some great moments, but a lot of it is kind of arrhythmic (not in a good way), the thematic material is presented kind of clumsily, and certain scenes really suffer from piss-poor post-synch sound.

Person A: (something completely innocuous about, like, pickles here)
Person B: What? You fuck my wife?!?!?!

it wasn't as funny the next day.

the "she's a tiger" and "take her for ice cream" scenes in Scarface have been referenced plenty any time I've been to a bar recently.

a few close-ups of al pacino with cake makeup, driving a car, talking in a funny accent, then he visits his mother and sister an continues talking in a funny accent but with fewer close-ups.

I don't think MS really knows exactly what kind of movie it wants to be. It's kind of a loosely connected series of vignettes that attempt to sketch and pay quasi-nostalgic tribute to a half-remembered adolescent milieu. It's less cohesive than GF - perhaps it suffers from not being as explicitly autobiographical - there's no central figure with the ability to pull all the threads together. Plus the ending of MS is kind of boring and doesn't quite attain the tragic dimensions it would like to have.

scorsese should've directed the breakfast club!

It could have only improved that movie. Would Anthony Michael Hall been a killer or a victim?

"DeNiro
appropriate casting as character named Noodles, 76
first Spanish conquistador with Mott Street accent, 130-131
and Mickey Rourke, 72
and seal of confession, 58
and slime, 72
and slugs, 72
hair in Cape Fear resembling rat marinated in Vaseline, 148

Dunne, Griffin
traumatized by Joni Mitchell music, 142

Mastrantonio, Mary Elizabeth
influence of Pam Grier on, 38

Pacino, Al
trouble pronouncing the word "shit," 36

Scorcese, Martin
surprising ability to keep getting dates, 139"

A mook and a palook a are playing nine-ball for $1.69 a game in a dingy Little Italy social club. Suddenly a blonde named Carmella dressed all in white (camouflaging the semen on her skirt) gets out of a big yellow taxi and drops a rosary on the ground. As an aria from Donizetti wells up in the background, switch to an overhead shot of a wise guy firing five bullets, four of which miss, into the mook's neck, while three old men named Tommy holler "Yo, Mikey, whatsa matter with you?" The film now fades from color to black and white, save for the huge red neon light in the distance reading "JESUS SAVES."
"Hey Joey, didn't you used to be somebody?" the vamp asks the wounded man.
"No, that was my brother, Vinnie," he replies.

well there goes all desire to check THAT scorcese flick out

Some of you are starting to sound like Jimmy Two-Times, "Mean Streets is so camp, Mean Streets is so camp..."