A woman’s bare breasts are seen for an extended period of time; first changing, and then post coital. We briefly see her pubic hair during the former and we see her bare buttocks during the latter.
A drawing of a totally naked woman is shown in the entrance of a strip club. It is a draw and it isn’t too explicit, it only appears for some seconds and it is very easy to miss.
One sex scene which includes female breast nudity and very brief shots including visible pubic areas. A scene takes place in a strip club in which we can see strippers dancing suggestively, whilst they’re not totally nude it doesn’t leave much to the imagination.
A few shots of topless dancers with pasties and very revealing underwear during a scene at a club.


Film review:Translated by www.rabudo-ru.com


According to this article, this article was selected from last summer’s original work, and it was originally launched in the “surging and ideological market” and the WeChat official account “deep focus DeepFocus”, the original topic “Martin Scosese, the great departure from Cannes”. The reason why it hangs out is that the rubbing heat is only one of the reasons. A few days ago, I saw a broadcast from douyou, referring to a comment in the film manual that Scorsese’s personality is composed of the trinity of “suicidal thugs, aesthetes and priests”. I think so, but it may not be new (of course, it provides a good analytical framework). The “mob + priest” is actually existentialism, and its existential aesthetics is also strongly exposed in the poor streets. This work constitutes the source of Scorsese’s aesthetics in many aspects, especially his obsession with violence and spirituality; In my opinion, it is even more “Scorsese”, because he brings the presentation of violence and spirituality back to Little Italy, which he is most familiar with, and explains why existentialism is our poison and final antidote in a very new wave way.

Time pulled back to the end of 1970, Scorsese, a young lecturer at the New York University film school, decided to leave the east coast and go to Hollywood to pursue his desired mainstream success. He got his first directing opportunity in Hollywood from Roger Coleman, the “king of B-rated films”, for which he made an “exploitation film” cold-blooded thunderbolt fire, with violence as the selling point. The film angered John casavitz, his spiritual mentor in New York and a pioneer of American independent production, who angrily denounced that “what he spent a year shooting is not fart” and urged him to continue shooting like “who’s knocking on my door?” Such a film with strong personal style. So Scorsese began to revise a script that had been rejected for many times and had been dusty for a long time, that is, poor streets and lanes. This film has become Scorsese’s ice breaking work and marks the maturity of his personal aesthetics.

The film tells the story of several young people living in the little Italian neighborhood of New York. The protagonist is Charlie (Harvey Keitel) and his friend Johnny (Robert De Niro). The plot clue is the debt collection and evasion between Mike and Johnny. As a second-generation Italian immigrant growing up in New York, Scorsese placed a lot of personal sustenance in the film, so the film has a strong autobiographical color. Even the ending (Charlie and Johnny were shot by Mike driving) is based on the director’s personal experience. The title “mean streets” comes from the book “the art of simple murder” by tough guy detective novelist Raymond Chandler: “a man must step into these mean streets, even though he is not cruel”.

Therefore, we can foresee the black film style of the film: the presentation of urban crime and violence, moral vague characters, dark and gloomy spatial landscape, and potential social and political significance. It is difficult to say whether Scorsese’s life experience made him obsessed with the presentation of violence all his life, or whether his obsession with the theme of violence made him return to “Little Italy” again and again. In any case, “poor streets” did open up a series of screen violence, including taxi driver, angry bull, good guy, New York gangster and so on.

In the poor streets, Little Italy does constitute a perfect narrative space, and its perfection comes from its closeness – what is more cruel than cruelty itself is that cruelty cannot end. This closeness is first reflected in that when Charlie’s girlfriend Teresa asked Charlie to leave little Italy with her, she asked again and again, but Charlie refused again and again; Then, in the roof shooting scene of Johnny and Charlie, it appeared again in a dialectical attitude: in the night, the Empire State Building Johnny wanted to shoot at only flashed in the vague vision, and their crazy and desperate behavior could only end up on the ground of the small Italian block. Therefore, the closeness of space condenses into an abstraction, pointing to the inescapable tragic fate: living in violence and crime, and finally being swallowed up by violence and crime. The third and last appearance of space closure is at the end of the film. When the protagonists try to escape from Little Italy, fate directly comes out and leaves them in the cruel street of Little Italy in an extremely cruel way. Interestingly, it was Scorsese who shot them in the back seat of the Mike car – if the passenger played by Scorsese in taxi driver is Travis’s violent enlightener, then he became the ultimate perpetrator of violence in poor streets. Can this be regarded as a fable of “author authority”?

However, in the film, Scorsese does not set the inescapable escape of space / violence as an elusive and unspeakable fate. In fact, it is easy to find that the reason why Charlie refused to leave little Italy is not only the restaurant promised by his uncle, but also his existential temperament. As we all know, Italy’s specialty is not only the Mafia, but also Catholicism. The most famous scene in the film is Charlie reaching out to the flame to detect his inner guilt and pain.

But Charlie is obviously not a classical devout Catholic. Scorsese, who loves Dostoevsky, gives him the connotation of the post Nietzsche era, which is mainly realized through the role of Johnny. Johnny’s appearance was very dramatic. He blew up a mailbox, and the film didn’t explain any reason for it. In other words, Johnny means a kind of unprovoked, pure evil (if not evil, but also stubborn). Because of this, the friendship between Charlie and him is like Faust and Mephisto or the Karamazov family of good and evil, and Charlie’s wandering New York bars and strippers have the meaning of the black eagle tavern in the wasteland wolf. Even at the beginning of the film, this relationship is revealed through the voice over in the dark (interestingly, this voice over is also from the director): “you are not in church, but in the street and at home to make atonement, and the rest is shit. You know that.”( “You don’t make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it”。 In other words, Johnny is Charlie’s salvation. What he gives Charlie is not hope, but a choice towards evil – and the free will on which the choice is based is the internal essence of “existence precedes essence”. Thus, Charlie’s insistence on Johnny without asking about good and evil has an existential metaphysical color. The strong sense of religious guilt and existential pursuit of salvation in poor streets and lanes have also become a major motif of his films, which has spread to taxi drivers, the last temptation of Christ, silence and other works.

If violence and its redemption constitute the depth of the theme of poor streets and lanes, its formal style is even more admirable. When Scorsese entered the New York University Film Academy to study film in 1960, the new wave of France had become popular in the New York film circle, and he soon became a believer of the truvers. The French new wave takes “the film is the asymptote of reality” as the standard, and emphasizes the naturalistic documentary style with scene scheduling and depth of field lens. In poor streets and lanes, Scorsese also uses hand-held cameras, complex scene scheduling and other techniques to realize the “record” of the spatial landscape and personnel in Little Italy; Although most of the indoor plays were completed in Los Angeles due to insufficient funds, the authenticity of the film was not destroyed due to exquisite editing. The sense of reality also comes from the plot configuration, which is different from classical Hollywood’s emphasis on interlocking plot causality. The “poor streets” is full of accidents: sudden pub murder and inexplicable fighting… Similarly, the characters in the violent jungle in the film have no heroic demeanor in the works of former American directors such as John Ford and pegginpa, The action scene has neither stuntmen as doubles nor choreography, only the clumsiness of street gangsters in the real world. All this gives the film a rough and fierce documentary sense.

However, although he has benefited a lot from the new wave of France, Scorsese is more like an omniscient. As an Italian, he is naturally very familiar with post-war Italian films. Indeed, the presentation of the characters’ inner pain and depression and the questioning of faith in contemporary life in poor streets and lanes are easy to remind people of Fellini. After watching the film, Roger Ebert thought Scorsese would become “Fellini of America” in ten years, while Scorsese responded, “do you really think it will take ten years?”.

Different from the above elements of European art films, the use of music in poor streets is purely American. New Hollywood films are aimed at young people of the anti culture movement generation and love to distribute pop music of the same period in the films, such as “free rider” to house of rising sun, “army field hospital” to suicide is painless, “graduate” to the sound of silence, The opening song of “poor streets and lanes” is the famous song be my baby in the 1960s (1960s very good). It is worth mentioning that this song may inspire us to open another text space: Scorsese even added such a warm and pure love song to this film showing male friendship, which really reminds people of the sweet “first kill” and street fight between Charlie and Johnny in the film, Not to mention that they actually have a “sex play”. Regardless of whether Charlie’s “unrepentant” to Johnny is a metaphysical religious salvation or another deep meaning, their homosexual friendship is indeed the only light in the dark night of the cruel street.

Although the release was not smooth, the “poor street” soon caused a sensation in the North American critics. As soon as the film was released, Pauline Kyle, who has always been sharp, wrote an article and exclaimed that “it has an informal, occasional rhythm and dizzying sensitivity to the presentation of growth experience in Little Italy. Scorsese showed us an unprecedented viscous corruption in American films and a more mature feeling of sin”. It is likely that the “director fortnight” unit in Cannes noticed the film and Scorsese, who will soon become the leader of the new Hollywood film movement through the critics – its echo to the new Hollywood movement proved the communication efficiency of the film industry on both sides of the Atlantic at that time: in 1969, the army field hospital won the golden palm; In 1974, the same year Scorsese came to the “director fortnight”, his compatriot Coppola also won his first golden palm with the “eavesdropping conspiracy”.

Poster for the 25th anniversary of the release of “poor streets and lanes”

Time has brought more praise and praise to the poor streets and lanes. In 2013, entertainment weekly even named it the seventh greatest film in history. Roger Ebert’s passage, written 30 years after the film’s release, is probably more fair: “if Coppola’s godfather presents the Mafia as a shadow government, Scorsese’s poor streets” It opens another main line of modern gangster films about the reality of daily life. The former is about career, while the latter is about work… Great films leave a mark not only on the audience but also on the works of future generations. “Poor streets and lanes” is one of the sources of modern films in countless ways “.

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