Religion and redemption show up often in Scorsese's "Mean Streets". The most obvious of this occurs relatively close to the beginning. The sequence begins with Johnny blowing up a mailbox allowing us to see the almost playful sadism that characterizes him. There is an immediate cut to Charlie walking up the aisle of a church. We are introduced to him for the first time and the camera follows him as it transforms into a low-angle shot of the altar and religious statues above it. We then cut to a high angle shot, as if we are in the position of the religious figures. We move from a high to low angle shot as we hear a voice-over of a derivative of "I am not worthy to eat your flesh, not worthy to drink your blood." After that completes, there are two shots in very quick succession of the religious statues above the altar. This gives the feeling of Charlie being intimidated by religion and that the figures, while he's very powerful, somehow control him. Several shots later, the camera moves around Charlie as he stands among more statues and candles on the left side of the church. He examines all the religion around him as a voice-over declares his feelings towards given confessions. Within the voice-over, he tells someone (and in turn, the audience) that he does his own penance for his own sins, which involves holding his finger above a flame so he can feel the pain and pay for his actions. This is an interesting concept brought up several times in the film, firstly in the beginning with the famous voice-over regarding paying for sins on the streets. In a sense, Charlie believes in making up for his wrong doings so much that he wants to physically suffer for what he's done. He believes in religion condoning physical suffering and by doing so, he is doing what God really desires for him (rather than what the church has declared a way to make up for sins). In his films, Scorcese often portrays religion as an essential element in one's life but is often masked by what people must do to maintain a living or appease a friend, which is essentially what Mean Streets examines.
The theme of redemption is prevalent throughout the entirety of Mean Streets. This is achieved through Martin Scorcese’s use of cinematic strategies in the film. One sequence in the movie that has many religious themes occurs when Charlie is looking at Taresa changing through the window. This brief part of the fil outlines a spiritual battle within Charlie’s character. The set contains a lrge cross that is seen consistently in the sequence. The cross is placed above Charlie’s bed and takes up a significant amount of space in the frame. Also, the cross is always above Charlie in the sequence. Charlie’s room represents his spirit. It is conflicted, he has spirituality which is signified by the cross. Furthermore, Charlie’s room is submerged in darkness while Taresa’s is fully lit. The darkness of the room represents the darkness residing in Charlie. Taresa’s room is also placed above Charlie’s room which fits in with the idea of heaven being above and hell being below. Charlie is trapped in hell, represented by his room, but he yearns to go to heaven, represented by Taresa’s room. Camera angles fit in with this interperetation as well. Taresa is filmed at a low angle which implies her power, spiritually, over Charlie.
The themes of redemption and religion are prevalent throughout Martin Scorcese's Mean Streets, as demonstrated by shot composition. For instance, when Charlie puts his hand in the fire, the fire is in the foreground while he is in the background. This conveys to viewers his emotions toward himself. He feels like he isn't good enough and he feels better when he punishes himself (putting his hand in the fire). Charlie is also shown in his bedroom, when he is watching Teresa change. In his room above his bed is a large cross that is featured predominantly. It's placement above his bed makes it almost as if religion is looming over him, keeping him in check as he does bad things, particularly when the image of this cross is juxtaposed with Teresa undressing, as it is a religious symbol being shown with sexuality and scandal. The fact that it is above his bed specifically also sets it up so that when Charlie is in his bed, it is above him, again symbolizing the way he feels about himself- that he isn't good enough.
In Mean Streets by Martin Scorsese we have this group of thugs living in little italy in the 1970s. Religion in this film often contradicts with the morals of the street. The main character Charlie is a strong Catholic and believes in friendship, chastity, and repentance. However, growing up on the streets he has other moral codes based on the streets which conflict with his views with religion. These two morals are what forms Charlies internal conflict. in the opening of the movie it introduces us to each character and what they are doing at the moment. When it shows Johnny boy it shows him blowing up a mailbox for no reason. then t goes to Charlie, the main character. hes walking into a church. Now this 30 seconds really shows the movie. we have the trouble maker wreaking havoc on the STREET while we have we have a put together guy trying to be RELIGIOUS. The movie follows Charlie and the conflict with these two things. While Charlie is in the church him and jesus talk to eachother. we can tell Charlie is very religious because hes actually having a conversation with jesus.
The theme of redemption is prevalent throughout the entirety of Mean Streets. This can be seen in the scene in which Charlie is looking Teresa through his window. Through lighting and cinematographer represents Charlie's chance at having a normal life and being redeemed from this awful life he has lived
Religion and redemption show up often in Scorsese's "Mean Streets". The most obvious of this occurs relatively close to the beginning. The sequence begins with Johnny blowing up a mailbox allowing us to see the almost playful sadism that characterizes him. There is an immediate cut to Charlie walking up the aisle of a church. We are introduced to him for the first time and the camera follows him as it transforms into a low-angle shot of the altar and religious statues above it. We then cut to a high angle shot, as if we are in the position of the religious figures. We move from a high to low angle shot as we hear a voice-over of a derivative of "I am not worthy to eat your flesh, not worthy to drink your blood." After that completes, there are two shots in very quick succession of the religious statues above the altar. This gives the feeling of Charlie being intimidated by religion and that the figures, while he's very powerful, somehow control him. Several shots later, the camera moves around Charlie as he stands among more statues and candles on the left side of the church. He examines all the religion around him as a voice-over declares his feelings towards given confessions. Within the voice-over, he tells someone (and in turn, the audience) that he does his own penance for his own sins, which involves holding his finger above a flame so he can feel the pain and pay for his actions. This is an interesting concept brought up several times in the film, firstly in the beginning with the famous voice-over regarding paying for sins on the streets. In a sense, Charlie believes in making up for his wrong doings so much that he wants to physically suffer for what he's done. He believes in religion condoning physical suffering and by doing so, he is doing what God really desires for him (rather than what the church has declared a way to make up for sins). In his films, Scorcese often portrays religion as an essential element in one's life but is often masked by what people must do to maintain a living or appease a friend, which is essentially what Mean Streets examines.
ReplyDeleteThe theme of redemption is prevalent throughout the entirety of Mean Streets. This is achieved through Martin Scorcese’s use of cinematic strategies in the film. One sequence in the movie that has many religious themes occurs when Charlie is looking at Taresa changing through the window. This brief part of the fil outlines a spiritual battle within Charlie’s character. The set contains a lrge cross that is seen consistently in the sequence. The cross is placed above Charlie’s bed and takes up a significant amount of space in the frame. Also, the cross is always above Charlie in the sequence. Charlie’s room represents his spirit. It is conflicted, he has spirituality which is signified by the cross. Furthermore, Charlie’s room is submerged in darkness while Taresa’s is fully lit. The darkness of the room represents the darkness residing in Charlie. Taresa’s room is also placed above Charlie’s room which fits in with the idea of heaven being above and hell being below. Charlie is trapped in hell, represented by his room, but he yearns to go to heaven, represented by Taresa’s room. Camera angles fit in with this interperetation as well. Taresa is filmed at a low angle which implies her power, spiritually, over Charlie.
ReplyDeleteThe themes of redemption and religion are prevalent throughout Martin Scorcese's Mean Streets, as demonstrated by shot composition. For instance, when Charlie puts his hand in the fire, the fire is in the foreground while he is in the background. This conveys to viewers his emotions toward himself. He feels like he isn't good enough and he feels better when he punishes himself (putting his hand in the fire). Charlie is also shown in his bedroom, when he is watching Teresa change. In his room above his bed is a large cross that is featured predominantly. It's placement above his bed makes it almost as if religion is looming over him, keeping him in check as he does bad things, particularly when the image of this cross is juxtaposed with Teresa undressing, as it is a religious symbol being shown with sexuality and scandal. The fact that it is above his bed specifically also sets it up so that when Charlie is in his bed, it is above him, again symbolizing the way he feels about himself- that he isn't good enough.
ReplyDeletewow way to steal my opening line...
Deletemy bad, i didnt read yours before posting mine. i just figured you probably didnt have anything relevant to say so there was no need.
DeleteThe theme of redemption is prevalent throughout the entirety of Mean Streets.
ReplyDeleteThe themes of redemption and religion are prevalent throughout Martin Scorcese's Mean Streets, as demonstrated by shot composition.
My cousins is better because it references a cinematic element right away!
I guess you're right Aidan Conolly, or should I say Aidan SCORSELLINI
Deletebad joke
DeleteIn Mean Streets by Martin Scorsese we have this group of thugs living in little italy in the 1970s. Religion in this film often contradicts with the morals of the street. The main character Charlie is a strong Catholic and believes in friendship, chastity, and repentance. However, growing up on the streets he has other moral codes based on the streets which conflict with his views with religion. These two morals are what forms Charlies internal conflict.
ReplyDeletein the opening of the movie it introduces us to each character and what they are doing at the moment. When it shows Johnny boy it shows him blowing up a mailbox for no reason. then t goes to Charlie, the main character. hes walking into a church. Now this 30 seconds really shows the movie. we have the trouble maker wreaking havoc on the STREET while we have we have a put together guy trying to be RELIGIOUS. The movie follows Charlie and the conflict with these two things. While Charlie is in the church him and jesus talk to eachother. we can tell Charlie is very religious because hes actually having a conversation with jesus.
The theme of redemption is prevalent throughout the entirety of Mean Streets. This can be seen in the scene in which Charlie is looking Teresa through his window. Through lighting and cinematographer represents Charlie's chance at having a normal life and being redeemed from this awful life he has lived
ReplyDelete@ CARL CALL HIM OUT
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