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      <title>Film:Mean Streets</title>
      <link>http://www.spout.com/films/Mean_Streets/22237/default.aspx</link><description><![CDATA[<table width='100%' style='font:10px/10px Helvetica, Arial, sans-serif;'><tr><td><img align='left' src='http://www.spout.com/ProductImages/t57249rihct.jpg' hspace='10' style='height:80px;' /></td>
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<strong>Title:</strong> Mean Streets<br/>
<strong>Year:</strong> 1973<br/>
<strong>Director:</strong> Martin Scorsese<br/>
<strong>Plot:</strong> "You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, <a href="/players/P___110533/default.aspx" style='text-decoration:underline'>Martin Scorsese</a> examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (<a href="/players/P____16935/default.aspx" style='text-decoration:underline'>Cesare Danova</a>) and his desire to live his life like St. Francis, Charlie (<a href="/players/P____37381/default.aspx" style='text-decoration:underline'>Harvey Keitel</a>) takes on his energetically unhinged friend Johnny Boy (<a href="/players/P____17593/default.aspx" style='text-decoration:underline'>Robert De Niro</a>) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (<a href="/players/P____61295/default.aspx" style='text-decoration:underline'>Richard Romanus</a>). Despite his promises to his epileptic girlfriend Teresa (<a href="/players/P___108528/default.aspx" style='text-decoration:underline'>Amy Robinson</a>) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director <a href="/players/P____85868/default.aspx" style='text-decoration:underline'>Francis Ford Coppola</a> transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in <a href=/films/13611/default.aspx style='text-decoration:underline'>The Godfather</a> (1972) and <a href=/films/13612/default.aspx style='text-decoration:underline'>The Godfather Part II</a> (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as <a href=/films/34219/default.aspx style='text-decoration:underline'>Taxi Driver</a> (1976), <a href=/films/28007/default.aspx style='text-decoration:underline'>Raging Bull</a> (1980), <a href=/films/19000/default.aspx style='text-decoration:underline'>The King of Comedy</a> (1983), and <a href=/films/13828/default.aspx style='text-decoration:underline'>Goodfellas</a> (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as <a href="/players/P____99175/default.aspx" style='text-decoration:underline'>Spike Lee</a> and <a href="/players/P___113658/default.as<br/>
<strong>Times Tagged:</strong> 18<br/>
<strong>Number of Lists:</strong> 37<br/>
<strong>Number of blog posts:</strong> 2<br/>
<strong>Number of discussion threads:</strong> 2<br/>
<strong>SpoutRating:</strong> 3<br/>
</td></tr></table>]]></description><pubDate>Sat, 22 Aug 2009 15:52:04 GMT</pubDate><spout:Title>Mean Streets</spout:Title><spout:Year>1973</spout:Year><spout:Director>Martin Scorsese</spout:Director><spout:Plot>"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, &lt;a href="/players/P___110533/default.aspx" style='text-decoration:underline'&gt;Martin Scorsese&lt;/a&gt; examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (&lt;a href="/players/P____16935/default.aspx" style='text-decoration:underline'&gt;Cesare Danova&lt;/a&gt;) and his desire to live his life like St. Francis, Charlie (&lt;a href="/players/P____37381/default.aspx" style='text-decoration:underline'&gt;Harvey Keitel&lt;/a&gt;) takes on his energetically unhinged friend Johnny Boy (&lt;a href="/players/P____17593/default.aspx" style='text-decoration:underline'&gt;Robert De Niro&lt;/a&gt;) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (&lt;a href="/players/P____61295/default.aspx" style='text-decoration:underline'&gt;Richard Romanus&lt;/a&gt;). Despite his promises to his epileptic girlfriend Teresa (&lt;a href="/players/P___108528/default.aspx" style='text-decoration:underline'&gt;Amy Robinson&lt;/a&gt;) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director &lt;a href="/players/P____85868/default.aspx" style='text-decoration:underline'&gt;Francis Ford Coppola&lt;/a&gt; transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in &lt;a href=/films/13611/default.aspx style='text-decoration:underline'&gt;The Godfather&lt;/a&gt; (1972) and &lt;a href=/films/13612/default.aspx style='text-decoration:underline'&gt;The Godfather Part II&lt;/a&gt; (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as &lt;a href=/films/34219/default.aspx style='text-decoration:underline'&gt;Taxi Driver&lt;/a&gt; (1976), &lt;a href=/films/28007/default.aspx style='text-decoration:underline'&gt;Raging Bull&lt;/a&gt; (1980), &lt;a href=/films/19000/default.aspx style='text-decoration:underline'&gt;The King of Comedy&lt;/a&gt; (1983), and &lt;a href=/films/13828/default.aspx style='text-decoration:underline'&gt;Goodfellas&lt;/a&gt; (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as &lt;a href="/players/P____99175/default.aspx" style='text-decoration:underline'&gt;Spike Lee&lt;/a&gt; and &lt;a href="/players/P___113658/default.as</spout:Plot><spout:TimesTagged>18</spout:TimesTagged><spout:taglevel>Tag Target (&gt;10)</spout:taglevel><spout:Numberoflists>37</spout:Numberoflists><spout:NumberOfBlogPosts>2</spout:NumberOfBlogPosts><spout:NumberOfDiscussionThreads>2</spout:NumberOfDiscussionThreads><spout:SpoutRating>3</spout:SpoutRating><spout:FilmCoverURL>http://www.spout.com/ProductImages/t57249rihct.jpg</spout:FilmCoverURL><spout:SpoutFilmDetailURL>http://www.spout.com/films/Mean_Streets/22237/default.aspx</spout:SpoutFilmDetailURL><spout:type>Film</spout:type></item>
    <item>
      <title>Spout Post: Mean Streets is Real, Raw, But Somehow Empty</title>
      <link>http://www.spout.com/blogs/pippin06/archive/2009/8/22/43680.aspx</link><description><![CDATA[<div><img align='left' src='http://www.spout.com/ProductImages/t57249rihct.jpg' hspace='10' style='height:80px;' />
<strong>Post By:</strong> <a href='http://www.spout.com/members/2227/default.aspx'>pippin06</a><br/>
<strong>Post To:</strong> <a href='http://www.spout.com/blogs/pippin06/default.aspx'>Reel Thoughts</a><br/>
<strong>Post Date:</strong> 8/22/2009 11:52:04 AM<br/>
<strong>Body:</strong> 
This film represents the second of five Martin Scorsese films topping my Netflix queue, just in case you were keeping track.
 
Mean Streets is Marty's highly touted review of the life of gangsters in New York City's Little Italy.  In many ways, it's an interesting early look at a director and his trademarks that began largely with this film, and that he's never quite abandoned.  I mostly wanted to see Mean Streets out of academic curiosity, in an effort to compare Marty's recent films, like The Departed, to something from earlier in his career.  Aside from its timing in Scorsese's filmography, I knew almost nothing about the film prior to viewing.
 
Mean Streets is less of a tale and more of a study of one man's place in his immediate surroundings, which turn out to be a rough niche of NYC in the 70s.  Charlie (Harvey Keitel) spends most of the movie attempting to reconcile his ambitions toward being a respectable gangster and his Catholic faith, particularly his wish to emulate St. Francis.  The film follows his exploits in attempting to protect and mentor Johnny Boy (Robert DeNiro), his slightly psychotic friend with a penchant for gambling and an equally potent penchant for being unable to pay his debts, and in trying to secure the love of his epileptic girlfriend Teresa (Amy Robinson), who wants to move out of her apartment for better quarters and wants Charlie to move in with her.  The plot, such as it is, is divided between Charlie and Teresa's tempestuous romance, complicated by Charlie's almost fanatical wish to remain tough in the eyes of his kingpin uncle and other members of the gang, and getting Johnny Boy out of trouble as Charlie's cousin demands repayment of loans given to Johnny Boy and as other loan sharks chase down the characteristically reactive and not necessarily intelligent man. Incidentally, Johnny Boy seems very much a precursor to the Tommy character played by Joe Pesci in GoodFellas.
 
Mean Streets was raw, gritty, and in-your-face.  Marty, using simple camera techniques (likely thanks to a shoestring budget and the fact that it was made in 1973) such as handheld shots, provided an almost documentary-style to the filmmaking in this movie, effecting an uncompromised realism. The darkness and the danger threatening to consume Charlie and Johnny Boy on a daily basis were palpable; there is no question that their chosen line of work is hazardous and dirty.  
 
Yet, the film boasted a first look at trademarks seemingly characteristic of all of Marty's films.  First, there was a quirky soundtrack of 50s and 60s doo-wop and other straight rock-n-roll, which was apparently gleaned from Marty's own record collection (scratches and all).  Charlie almost becomes something of a character study, another primary focus on redemption and guilt. His thoughts are highlighted with voiceover narration (provided by Marty, incidentally), and the soul of the film centers on Charlie's internal struggles to reconcile his place in the grand scheme of his environment.
 
This film also represents the first of a long series of DeNiro and Scorsese partnerships, and both he and Keitel offered very real, very engaging performances.  Johnny Boy, in particular, reminded me of, as I mentioned, a precursor to Tommy, or on a more basic level, an inspiration for the character of Bender in The Breakfast Club.  He knows he is in trouble, he know he is only making it worse for himself, but this knowledge only seems to fuel an attitude of self-defeat and further bad decisions and defiance in an effort to seem brave.  DeNiro clearly zeroed in on this quality and played it to his usual perfection.  Charlie and Johnny Boy's partnership is the most interesting focus of the film; the fact that Charlie feels compelled to attempt to help Johnny Boy out of his ever declining predicament as a means of finding redemption is the ultimate tragedy of the piece.
 
In many ways, Mean Streets seems to represent an early draft of the formula upon which Marty draws for his other gangster films; a blueprint that he pulls out for consideration whenever he revisits that world.  Formula creators are pioneering, naturally, but they also represent a time when the formula was imperfect, lacking the tweaks and improvements that come with the natural evolution of a director's (or other type of filmmaker's) filmmaking. For me, as real and as poetic as Charlie's struggles ultimately become, particularly in lieu of the grisly ending of this piece, the biggest flaw of this film is that the viewing audience is never provided any reason to care for Charlie, or Johnny Boy, or anyone else.  That lack of connection is less jarring once the Teresa character enters the picture, as she gives Charlie a softer, more human dimension.  Otherwise, the film, as it begins, feels like its making excuses for the Charlie character rather than giving the viewer all of his dimensions and letting the viewer decide for him or herself whether that redemption about which Charlie is so obsessed is actually deserved.  As a result, I felt disconnected from Mean Streets for much of the film, because Charlie's dimensions (and he's really the character of import; Johnny Boy and Teresa are more plot devices than flesh-and-blood characters themselves) did not really take full shape until near the end, and by then, it was too late to care about him or anyone else in the film, for that matter.  This lack of connection left me feeling somewhat empty about the piece (but, to be fair, some poetry can do that too).
 
That's not to say that Mean Streets did not have some great points. Like I said, the performances were good, and Marty's great filmmaking style clearly emerges in this film; it just wasn't the revelatory experience that some people have touted it as, and even though the stories/characters are largely dissimilar, I could not help feeling like Mean Streets was an early and rough draft of GoodFellas, a film that was executed more effectively, even if the same themes were not at the forefront.  As a result, I feel that Mean Streets warrants an 8 for being very good with minor flaws, but it does not pass the test because it's violent, and because I didn't love it.  Still, any Scorsese student should pick this film up if they have not; it's a great first look at a then-budding director whose contemporary achievement is unquestioned.
<br/>
</div>]]></description><pubDate>Sat, 22 Aug 2009 15:52:04 GMT</pubDate><spout:postby>pippin06</spout:postby><spout:postto>Reel Thoughts</spout:postto><spout:postdate>8/22/2009 11:52:04 AM</spout:postdate><spout:body>
This film represents the second of five Martin Scorsese films topping my Netflix queue, just in case you were keeping track.
 
Mean Streets is Marty's highly touted review of the life of gangsters in New York City's Little Italy.  In many ways, it's an interesting early look at a director and his trademarks that began largely with this film, and that he's never quite abandoned.  I mostly wanted to see Mean Streets out of academic curiosity, in an effort to compare Marty's recent films, like The Departed, to something from earlier in his career.  Aside from its timing in Scorsese's filmography, I knew almost nothing about the film prior to viewing.
 
Mean Streets is less of a tale and more of a study of one man's place in his immediate surroundings, which turn out to be a rough niche of NYC in the 70s.  Charlie (Harvey Keitel) spends most of the movie attempting to reconcile his ambitions toward being a respectable gangster and his Catholic faith, particularly his wish to emulate St. Francis.  The film follows his exploits in attempting to protect and mentor Johnny Boy (Robert DeNiro), his slightly psychotic friend with a penchant for gambling and an equally potent penchant for being unable to pay his debts, and in trying to secure the love of his epileptic girlfriend Teresa (Amy Robinson), who wants to move out of her apartment for better quarters and wants Charlie to move in with her.  The plot, such as it is, is divided between Charlie and Teresa's tempestuous romance, complicated by Charlie's almost fanatical wish to remain tough in the eyes of his kingpin uncle and other members of the gang, and getting Johnny Boy out of trouble as Charlie's cousin demands repayment of loans given to Johnny Boy and as other loan sharks chase down the characteristically reactive and not necessarily intelligent man. Incidentally, Johnny Boy seems very much a precursor to the Tommy character played by Joe Pesci in GoodFellas.
 
Mean Streets was raw, gritty, and in-your-face.  Marty, using simple camera techniques (likely thanks to a shoestring budget and the fact that it was made in 1973) such as handheld shots, provided an almost documentary-style to the filmmaking in this movie, effecting an uncompromised realism. The darkness and the danger threatening to consume Charlie and Johnny Boy on a daily basis were palpable; there is no question that their chosen line of work is hazardous and dirty.  
 
Yet, the film boasted a first look at trademarks seemingly characteristic of all of Marty's films.  First, there was a quirky soundtrack of 50s and 60s doo-wop and other straight rock-n-roll, which was apparently gleaned from Marty's own record collection (scratches and all).  Charlie almost becomes something of a character study, another primary focus on redemption and guilt. His thoughts are highlighted with voiceover narration (provided by Marty, incidentally), and the soul of the film centers on Charlie's internal struggles to reconcile his place in the grand scheme of his environment.
 
This film also represents the first of a long series of DeNiro and Scorsese partnerships, and both he and Keitel offered very real, very engaging performances.  Johnny Boy, in particular, reminded me of, as I mentioned, a precursor to Tommy, or on a more basic level, an inspiration for the character of Bender in The Breakfast Club.  He knows he is in trouble, he know he is only making it worse for himself, but this knowledge only seems to fuel an attitude of self-defeat and further bad decisions and defiance in an effort to seem brave.  DeNiro clearly zeroed in on this quality and played it to his usual perfection.  Charlie and Johnny Boy's partnership is the most interesting focus of the film; the fact that Charlie feels compelled to attempt to help Johnny Boy out of his ever declining predicament as a means of finding redemption is the ultimate tragedy of the piece.
 
In many ways, Mean Streets seems to represent an early draft of the formula upon which Marty draws for his other gangster films; a blueprint that he pulls out for consideration whenever he revisits that world.  Formula creators are pioneering, naturally, but they also represent a time when the formula was imperfect, lacking the tweaks and improvements that come with the natural evolution of a director's (or other type of filmmaker's) filmmaking. For me, as real and as poetic as Charlie's struggles ultimately become, particularly in lieu of the grisly ending of this piece, the biggest flaw of this film is that the viewing audience is never provided any reason to care for Charlie, or Johnny Boy, or anyone else.  That lack of connection is less jarring once the Teresa character enters the picture, as she gives Charlie a softer, more human dimension.  Otherwise, the film, as it begins, feels like its making excuses for the Charlie character rather than giving the viewer all of his dimensions and letting the viewer decide for him or herself whether that redemption about which Charlie is so obsessed is actually deserved.  As a result, I felt disconnected from Mean Streets for much of the film, because Charlie's dimensions (and he's really the character of import; Johnny Boy and Teresa are more plot devices than flesh-and-blood characters themselves) did not really take full shape until near the end, and by then, it was too late to care about him or anyone else in the film, for that matter.  This lack of connection left me feeling somewhat empty about the piece (but, to be fair, some poetry can do that too).
 
That's not to say that Mean Streets did not have some great points. Like I said, the performances were good, and Marty's great filmmaking style clearly emerges in this film; it just wasn't the revelatory experience that some people have touted it as, and even though the stories/characters are largely dissimilar, I could not help feeling like Mean Streets was an early and rough draft of GoodFellas, a film that was executed more effectively, even if the same themes were not at the forefront.  As a result, I feel that Mean Streets warrants an 8 for being very good with minor flaws, but it does not pass the test because it's violent, and because I didn't love it.  Still, any Scorsese student should pick this film up if they have not; it's a great first look at a then-budding director whose contemporary achievement is unquestioned.
</spout:body></item>
    <item>
      <title>Spout Post: Re:What is your favorite Martin Scorsese (directing) and Robert De Niro (acting) collaboration?</title>
      <link>http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_Martin_Scorsese_directin/657/39163/1/ShowPost.aspx</link><description><![CDATA[<div><img align='left' src='http://www.spout.com/ProductImages/t57249rihct.jpg' hspace='10' style='height:80px;' />
<strong>Post By:</strong> <a href='http://www.spout.com/members/129163/default.aspx'>Macabre_FilmNut</a><br/>
<strong>Post To:</strong> <a href='http://www.spout.com/groups/Movie_Polls/657/discussions.aspx'>Movie Polls</a><br/>
<strong>Post Date:</strong> 1/6/2009 4:38:42 PM<br/>
<strong>Body:</strong> [quote user="Risselada"] Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses.  While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations.    Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver [/quote] Wow, this is a tuff one for me.I am huge fan of Scorsese and De Niro.I remember seeing Cape Fear at the theaters when I was a kid and liked very much. Raging bull was another good one, but not a favorite. Huge fan of mob movie and books. Casino was good but it didnt do nothing for me. I remember reading a book entitled Murder Machine which was about a serial killing hit squad among the time Goodfellas was supposed to take place. This crew in the book was alot like Pesci's   character, but more sinister.  I loved Mean Streets and it was pretty much what Scorsese saw as a child grewing up in the mean streets of New york. I remember him saying in an interview that he had alot of  associates tied into the mob and the only reason he didnt get involved was something to do with health issues, so this was tribuate so to say to his heritage and what he saw. All in all I would have to go with cult favorite, Taxi Driver. I really liked the grittyness of it. Alot of people say it was just an orgy of violence, but to alot of people it was one of the greatest films of our time.<br/>
</div>]]></description><pubDate>Tue, 06 Jan 2009 21:38:42 GMT</pubDate><spout:postby>Macabre_FilmNut</spout:postby><spout:postto>Movie Polls</spout:postto><spout:postdate>1/6/2009 4:38:42 PM</spout:postdate><spout:body>[quote user="Risselada"] Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses.  While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations.    Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver [/quote] Wow, this is a tuff one for me.I am huge fan of Scorsese and De Niro.I remember seeing Cape Fear at the theaters when I was a kid and liked very much. Raging bull was another good one, but not a favorite. Huge fan of mob movie and books. Casino was good but it didnt do nothing for me. I remember reading a book entitled Murder Machine which was about a serial killing hit squad among the time Goodfellas was supposed to take place. This crew in the book was alot like Pesci's   character, but more sinister.  I loved Mean Streets and it was pretty much what Scorsese saw as a child grewing up in the mean streets of New york. I remember him saying in an interview that he had alot of  associates tied into the mob and the only reason he didnt get involved was something to do with health issues, so this was tribuate so to say to his heritage and what he saw. All in all I would have to go with cult favorite, Taxi Driver. I really liked the grittyness of it. Alot of people say it was just an orgy of violence, but to alot of people it was one of the greatest films of our time.</spout:body></item>
    <item>
      <title>Spout Post: What is your favorite Martin Scorsese (directing) and Robert De Niro (acting) collaboration?</title>
      <link>http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_Martin_Scorsese_directing/657/39152/1/ShowPost.aspx</link><description><![CDATA[<div><img align='left' src='http://www.spout.com/ProductImages/t57249rihct.jpg' hspace='10' style='height:80px;' />
<strong>Post By:</strong> <a href='http://www.spout.com/members/5353/default.aspx'>Risselada</a><br/>
<strong>Post To:</strong> <a href='http://www.spout.com/groups/Movie_Polls/657/discussions.aspx'>Movie Polls</a><br/>
<strong>Post Date:</strong> 1/6/2009 2:27:44 PM<br/>
<strong>Body:</strong> Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses.  While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations.    Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver<br/>
</div>]]></description><pubDate>Tue, 06 Jan 2009 19:27:44 GMT</pubDate><spout:postby>Risselada</spout:postby><spout:postto>Movie Polls</spout:postto><spout:postdate>1/6/2009 2:27:44 PM</spout:postdate><spout:body>Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses.  While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations.    Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver</spout:body></item>
    <item>
      <title>Spout Post: this movie is probably awesome.</title>
      <link>http://www.spout.com/blogs/cmonnahkid/archive/2007/5/6/8285.aspx</link><description><![CDATA[<div><img align='left' src='http://www.spout.com/ProductImages/t57249rihct.jpg' hspace='10' style='height:80px;' />
<strong>Post By:</strong> <a href='http://www.spout.com/members/11100/default.aspx'>cmonnahkid</a><br/>
<strong>Post To:</strong> <a href='http://www.spout.com/blogs/cmonnahkid/default.aspx'>cmonnahkid Blog</a><br/>
<strong>Post Date:</strong> 5/6/2007 4:55:00 AM<br/>
<strong>Body:</strong> i consider this movie a rough draft for goodfellas, even though if i delve into that statement the stories dont really bear that large of a resemblance besides being about crime. it is very raw, very gritty, and even has some boobs if those are your thing. a young bobby d. and harvey keitel portraying a badass are the main things that suck me in though. when i watch this movie, i feel like i grew up in little italy new york. i could tell you all about the plot and such but you can read that anywhere else. just know that its not really that huge of a cinematic breakthrough, but is (from what i can gather) a pretty honest portrayal of certain parts of the big apple directed by a man who grew up there, and if you are a fan of scorsese it is a def-see.<br/>
</div>]]></description><pubDate>Sun, 06 May 2007 08:55:00 GMT</pubDate><spout:postby>cmonnahkid</spout:postby><spout:postto>cmonnahkid Blog</spout:postto><spout:postdate>5/6/2007 4:55:00 AM</spout:postdate><spout:body>i consider this movie a rough draft for goodfellas, even though if i delve into that statement the stories dont really bear that large of a resemblance besides being about crime. it is very raw, very gritty, and even has some boobs if those are your thing. a young bobby d. and harvey keitel portraying a badass are the main things that suck me in though. when i watch this movie, i feel like i grew up in little italy new york. i could tell you all about the plot and such but you can read that anywhere else. just know that its not really that huge of a cinematic breakthrough, but is (from what i can gather) a pretty honest portrayal of certain parts of the big apple directed by a man who grew up there, and if you are a fan of scorsese it is a def-see.</spout:body></item>
    <item>
      <title>Spout Tag:friendship</title>
      <link>http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/friendship/MemberTagFilms.aspx'>friendship</a>
<strong><br/> Number of films tagged:</strong> 6791</br><br/>
<strong>Number of people who tagged:</strong> 154</br><br/>
<strong>Number of times used:</strong> 980</br><br/>
</div>]]></description><pubDate>Mon, 14 Dec 2009 22:42:20 GMT</pubDate><spout:numFilms>6791</spout:numFilms><spout:numPeople>154</spout:numPeople><spout:timesUsed>980</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:violence</title>
      <link>http://www.spout.com/members/0/tags/violence/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/violence/MemberTagFilms.aspx'>violence</a>
<strong><br/> Number of films tagged:</strong> 952</br><br/>
<strong>Number of people who tagged:</strong> 82</br><br/>
<strong>Number of times used:</strong> 240</br><br/>
</div>]]></description><pubDate>Sun, 15 Nov 2009 12:34:09 GMT</pubDate><spout:numFilms>952</spout:numFilms><spout:numPeople>82</spout:numPeople><spout:timesUsed>240</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:obsession</title>
      <link>http://www.spout.com/members/0/tags/obsession/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/obsession/MemberTagFilms.aspx'>obsession</a>
<strong><br/> Number of films tagged:</strong> 1134</br><br/>
<strong>Number of people who tagged:</strong> 64</br><br/>
<strong>Number of times used:</strong> 136</br><br/>
</div>]]></description><pubDate>Tue, 13 Oct 2009 15:00:49 GMT</pubDate><spout:numFilms>1134</spout:numFilms><spout:numPeople>64</spout:numPeople><spout:timesUsed>136</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:betrayal</title>
      <link>http://www.spout.com/members/0/tags/betrayal/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/betrayal/MemberTagFilms.aspx'>betrayal</a>
<strong><br/> Number of films tagged:</strong> 1035</br><br/>
<strong>Number of people who tagged:</strong> 62</br><br/>
<strong>Number of times used:</strong> 154</br><br/>
</div>]]></description><pubDate>Mon, 27 Jul 2009 04:28:04 GMT</pubDate><spout:numFilms>1035</spout:numFilms><spout:numPeople>62</spout:numPeople><spout:timesUsed>154</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:gangster</title>
      <link>http://www.spout.com/members/0/tags/gangster/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/gangster/MemberTagFilms.aspx'>gangster</a>
<strong><br/> Number of films tagged:</strong> 4065</br><br/>
<strong>Number of people who tagged:</strong> 60</br><br/>
<strong>Number of times used:</strong> 145</br><br/>
</div>]]></description><pubDate>Mon, 17 Aug 2009 01:37:08 GMT</pubDate><spout:numFilms>4065</spout:numFilms><spout:numPeople>60</spout:numPeople><spout:timesUsed>145</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:gambling</title>
      <link>http://www.spout.com/members/0/tags/gambling/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/gambling/MemberTagFilms.aspx'>gambling</a>
<strong><br/> Number of films tagged:</strong> 1082</br><br/>
<strong>Number of people who tagged:</strong> 38</br><br/>
<strong>Number of times used:</strong> 81</br><br/>
</div>]]></description><pubDate>Tue, 24 Nov 2009 21:03:25 GMT</pubDate><spout:numFilms>1082</spout:numFilms><spout:numPeople>38</spout:numPeople><spout:timesUsed>81</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:new-york</title>
      <link>http://www.spout.com/members/0/tags/new-york/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/new-york/MemberTagFilms.aspx'>new-york</a>
<strong><br/> Number of films tagged:</strong> 87</br><br/>
<strong>Number of people who tagged:</strong> 26</br><br/>
<strong>Number of times used:</strong> 98</br><br/>
</div>]]></description><pubDate>Thu, 05 Nov 2009 22:25:46 GMT</pubDate><spout:numFilms>87</spout:numFilms><spout:numPeople>26</spout:numPeople><spout:timesUsed>98</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:opera</title>
      <link>http://www.spout.com/members/0/tags/opera/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/opera/MemberTagFilms.aspx'>opera</a>
<strong><br/> Number of films tagged:</strong> 1016</br><br/>
<strong>Number of people who tagged:</strong> 25</br><br/>
<strong>Number of times used:</strong> 32</br><br/>
</div>]]></description><pubDate>Sun, 29 Nov 2009 15:39:16 GMT</pubDate><spout:numFilms>1016</spout:numFilms><spout:numPeople>25</spout:numPeople><spout:timesUsed>32</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:gritty</title>
      <link>http://www.spout.com/members/0/tags/gritty/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/gritty/MemberTagFilms.aspx'>gritty</a>
<strong><br/> Number of films tagged:</strong> 20</br><br/>
<strong>Number of people who tagged:</strong> 13</br><br/>
<strong>Number of times used:</strong> 22</br><br/>
</div>]]></description><pubDate>Mon, 09 Nov 2009 05:13:34 GMT</pubDate><spout:numFilms>20</spout:numFilms><spout:numPeople>13</spout:numPeople><spout:timesUsed>22</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:raw</title>
      <link>http://www.spout.com/members/0/tags/raw/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/raw/MemberTagFilms.aspx'>raw</a>
<strong><br/> Number of films tagged:</strong> 11</br><br/>
<strong>Number of people who tagged:</strong> 11</br><br/>
<strong>Number of times used:</strong> 15</br><br/>
</div>]]></description><pubDate>Sat, 22 Aug 2009 15:08:33 GMT</pubDate><spout:numFilms>11</spout:numFilms><spout:numPeople>11</spout:numPeople><spout:timesUsed>15</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:DeNiro</title>
      <link>http://www.spout.com/members/0/tags/DeNiro/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/DeNiro/MemberTagFilms.aspx'>DeNiro</a>
<strong><br/> Number of films tagged:</strong> 13</br><br/>
<strong>Number of people who tagged:</strong> 10</br><br/>
<strong>Number of times used:</strong> 21</br><br/>
</div>]]></description><pubDate>Mon, 17 Aug 2009 01:37:09 GMT</pubDate><spout:numFilms>13</spout:numFilms><spout:numPeople>10</spout:numPeople><spout:timesUsed>21</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:italianamerican</title>
      <link>http://www.spout.com/members/0/tags/italianamerican/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/italianamerican/MemberTagFilms.aspx'>italianamerican</a>
<strong><br/> Number of films tagged:</strong> 51</br><br/>
<strong>Number of people who tagged:</strong> 8</br><br/>
<strong>Number of times used:</strong> 10</br><br/>
</div>]]></description><pubDate>Wed, 12 Aug 2009 13:02:59 GMT</pubDate><spout:numFilms>51</spout:numFilms><spout:numPeople>8</spout:numPeople><spout:timesUsed>10</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:ghetto</title>
      <link>http://www.spout.com/members/0/tags/ghetto/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/ghetto/MemberTagFilms.aspx'>ghetto</a>
<strong><br/> Number of films tagged:</strong> 221</br><br/>
<strong>Number of people who tagged:</strong> 7</br><br/>
<strong>Number of times used:</strong> 8</br><br/>
</div>]]></description><pubDate>Tue, 19 May 2009 13:05:22 GMT</pubDate><spout:numFilms>221</spout:numFilms><spout:numPeople>7</spout:numPeople><spout:timesUsed>8</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:new-york-city</title>
      <link>http://www.spout.com/members/0/tags/new-york-city/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/new-york-city/MemberTagFilms.aspx'>new-york-city</a>
<strong><br/> Number of films tagged:</strong> 25</br><br/>
<strong>Number of people who tagged:</strong> 6</br><br/>
<strong>Number of times used:</strong> 26</br><br/>
</div>]]></description><pubDate>Thu, 12 Nov 2009 20:19:20 GMT</pubDate><spout:numFilms>25</spout:numFilms><spout:numPeople>6</spout:numPeople><spout:timesUsed>26</spout:timesUsed><spout:type>Tag</spout:type></item>
    <item>
      <title>Spout Tag:urbanproblems</title>
      <link>http://www.spout.com/members/0/tags/urbanproblems/MemberTagFilms.aspx</link><description><![CDATA[<div style='display:block;height:120px;width:400px;font:10px/10px Helvetica, Arial, sans-serif;'><a href='/members/0/tags/urbanproblems/MemberTagFilms.aspx'>urbanproblems</a>
<strong><br/> Number of films tagged:</strong> 108</br><br/>
<strong>Number of people who tagged:</strong> 5</br><br/>
<strong>Number of times used:</strong> 5</br><br/>
</div>]]></description><pubDate>Thu, 13 Nov 2008 14:01:16 GMT</pubDate><spout:numFilms>108</spout:numFilms><spout:numPeople>5</spout:numPeople><spout:timesUsed>5</spout:timesUsed><spout:type>Tag</spout:type></item>
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