->''"It's all bullshit except the pain. The pain of hell. The burn from a lighted match increased a million times. Infinite. Now, ya don't fuck around with the infinite. There's no way you do that. The pain in hell has two sides. The kind you can touch with your hand; the kind you can feel in your heart... your soul, the spiritual side. And ya know... the worst of the two is the spiritual."''

''Mean Streets'' is a 1973 film directed by Creator/MartinScorsese and starring Creator/HarveyKeitel as Charlie, a morally and spiritually conflicted young mobster, and Creator/RobertDeNiro as Johnny Boy, his immature and irresponsible best friend. Charlie has his hands full keeping the reckless Johnny Boy on the straight and narrow. At the same time, Charlie is having an affair with Johnny's cousin, Teresa, but keeping it secret because Teresa is an epileptic and the community shuns her for this.

The film was Scorsese's BreakthroughHit, establishing him as a major talent and proved to be [=DeNiro=]'s StarMakingRole. It was seen as the [[CounterpartComparison counterpart]] to ''Film/TheGodfather'' taking a gritty, down to earth approach to the Italian American mob showing them without the AffablyEvil stylizations of that film. Much of what came to be Scorsese's SignatureStyle is visible in this film, stylized camera movements, sudden violence, troubling religious iconography and use of popular music as scores.

It was also the first of Scorsese's films to deal with the mob, a subject he returned to with ''Film/GoodFellas'' and ''Film/{{Casino}}'', later noting that all three films represent an [[ThematicSeries informal trilogy]] of the Italian American mob from [[SerialEscalation low-level hoodlums to power brokers]].

!! This Movie Contains Examples Of:

* AuthorAvatar: Charlie is at least partly one for Martin Scorsese. His last name is even Scorsese's mother's maiden name (Cappa).
* BarBrawl: One breaks out when Charlie goes to collect a payment from a pool hall owner, the pool hall owner is reluctant to pay, and a brawl breaks out.
* TheBigRottenApple: New York looks rotten, filthy, awful. About thirty seconds in there's a shot of a guy shooting up in a bar bathroom.
* BingeMontage: The scene where there's a FaceCam in front of a very tipsy Charlie at a party is a textbook example.
* BlowingSmokeRings: At the party for the returning soldier, Michael sits and calmly blows smoke rings while the others get louder and drunker, showing how he's somewhat removed from their circle.
* BullyingADragon: After Charlie has gone out of his way to rectify Johnny Boy's debt situation with a neighborhood mobster, Johnny Boy not only refuses to pay but also insults the mobster to his face and threatens him with a gun. [[WhatAnIdiot Not a wise move.]]
* CreatorCameo: Martin Scorsese plays hood Jimmy Shorts, the one who takes the shots at Johnny Boy at the end. He's also the voice of the priest when Charlie goes to pray in church at the start.
* DamnItFeelsGoodToBeAGangster: [[PlayingWithATrope Played With]]. The guys certainly think they have a good life, but as the film goes on we see they're not in a great position. The older Mafia leaders (like Charlie's uncle Giovanni) hold all the power and use the mooks like pawns. They really don't have much of a life outside of hanging out in bars and restaurants and getting drunk, and for all the fun they have they also have their associates (like Michael) who see organized crime as SeriousBusiness, with dangerous consequences.
* DirtyCop: The cop who breaks up the BarBrawl then casually accepts "car fare" to Philadelphia--that is, a bribe.
* DoorClosesEnding: Sort of. The very last shot shows some of the windows of the apartment building. The old lady (played by Martin Scorsese's mother) in the far right window lowers her blinds. SmashToBlack.
* EnterStageWindow: Johnny Boy does this to get into Teresa's apartment, finds Teresa and Charlie embracing, and finds out about their affair.
* EstablishingCharacterMoment: In the opening scenes, Charlie is shown leaving confession in a church, while Johnny Boy is shown blowing up a mailbox ForTheEvulz.
* {{Expy}}: ''Film/IVitelloni'' is used more as a point of reference than a blueprint for ''Mean Streets'', but you can make a case for Moraldo/Charlie and Fausto/Johnny Boy.
* {{Facecam}}: Used during Charlie's aforementioned BingeMontage. Arguably the TropeMaker for "Facecam = intoxicated."
* FourTemperamentEnsemble: Johnny Boy=Sanguine (Teresa also counts), Charlie=Phlegmatic, Tony=Choleric, Michael=Melancholic.
* TheFriendNobodyLikes: Johnny Boy seems to be this in his circle. Charlie is the only one he has a close bond with.
* HiddenDepths: Tony the Mook is apparently familiar with Creator/WilliamBlake poetry, as evidenced by a throwaway comment about how he wanted to buy a tiger.
* ISOStandardUrbanGroceries: Does Teresa have a long French bread roll sticking out of the grocery bag she carries home? Is there a quart of milk in there? Yes and yes.
* MadeOfIron: The drunk played by David Carradine, who gets shot three times, turns and grabs his assailant and drags him out of the bathroom, gets shot a fourth time, grabs his assailant again, and appears to be winning the fight by the time they roll out into the street and he collapses. The gang marvels at this, and comparisons to [[RasputinianDeath Rasputin]] are made.
* ManChild: Johnny Boy. Although, given his penchant for blowing up mailboxes, starting bar brawls, and sticking (unloaded) guns in the faces of mobsters he owes money to, it can be argued he's closer to a PsychopathicManChild. In either case, he still has the emotional, intellectual, and mental maturity of a young--and rather dim--adolescent.
* MissionFromGod: Somewhat disillusioned by the Catholic Church, Charlie seeks his own redemption for his sins by looking after Johnny Boy.
* TheMillstone: Johnny. Even when Charlie's trying to help him, Johnny spends the money Charlie loaned him to pay Michael just out of spite. He then insults Michael, threatens him, behaves like an idiot. In the end Charlie is probably going to get into trouble for disobeying his uncle and helping Johnny.
* {{Mooks}}: One of the earliest known uses of the term thereby making the film a TropeNamer. The whole movie, in fact, is about the day-to-day life of low-level mooks.
--> "I still don't know what a 'mook' is."
* NoEnding: Michael, having been pushed way too far by Johnny Boy, stages a drive-by assault as Charlie is driving Johnny to Brooklyn with Teresa tagging along. After Jimmy Shorts pumps bullets into their car, Charlie crashes. Johnny is shot in the neck but apparently not fatally, as he stumbles away from the car. Charlie exits the car, shot in the hand. Teresa is also able to walk away, helped out by the [=EMTs=] after suffering a cut on the scalp. There's a quick montage of other characters from the film. Then the film ends.
* PoisonousFriend: Johnny Boy is so much of this to Charlie that even Charlie's Mob superior--his uncle--warns him to stay away.
** Subverted in the end, it turns out that it's Charlie who's this to Johnny Boy, at least from Scorsese's perspective, who believes that Charlie was using Johnny Boy for his own selfish moral conflict.
* ShoutOut: There are many movie references even this early in Scorsese's oeuvre:
** The film Charlie, Johnny Boy and Teresa go to is ''Ligeia'' by Creator/RogerCorman (producer and Scorsese's old boss). The film is Scorsese's personal favorite of Corman's Poe films. One of the posters at the theater is for ''Husbands'', directed by Creator/JohnCassavetes, whose work was obviously an influence on this film, but also a tip-of-the-hat because Cassavetes personally encouraged Scorsese to put more of his life experiences into his films, which led to the creation of ''Mean Streets''.
** The finale, the montage of Johnny Boy's mooks friends and associates in their own life, intercut with Johnny and Charlie in the aftermath of the attack is structured like the end of ''Film/IVitelloni'' only with the opposite ending, [[spoiler:the hero leaves the town in Creator/FedericoFellini's film but Scorsese's hero fails]].
* SirSwearsALot: Johnny Boy.
* SliceOfLife: There isn't much of a plot, although Charlie's efforts to keep Johnny Boy from fucking up form a theme of sorts. It's basically a study of the lives of some mooks over a few days. Very much like the film's inspiration, ''Film/IVitelloni''.
* SpiritualSuccessor: To Scorsese's feature debut, ''Who's That Knocking at My Door?'', which also starred Harvey Keitel as a young Italian New Yorker with some mob ties and lots of [[RaisedCatholic Catholic guilt]]. In fact, Scorsese initially conceived it as a direct sequel.
* TooDumbToLive: Johnny Boy (especially after he insults and threatens a mobster he's heavily indebted to).
* TwentyMinutesIntoThePast: Set in the latter part of TheSixties, with September 1968 likely being the specific time frame (since that's the month the San Gennaro festival takes place and it's also around the time [[Music/TheRollingStones "Jumpin' Jack Flash"]] was peaking on the charts).
* YouWouldntShootMe: "You don't have the guts" - followed by the target fleeing the premises sharpish, only to set up a drive-by in revenge.