- SKU: 6723147
- Release Date: 08/17/2004
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- Commentary by Scorsese on each movie
- New/vintage documentaries on each movie
Martin Scorsese's After Hours is a dark, tragi-comic tale of a fish out of water, centering on an uptight, white-bread computer consultant from uptown Manhattan who finds himself in the nightmarish and incomprehensible (to him) world of Soho after dark. The ordeal begins when Paul Hackett (Griffin Dunne) gets lonely and decides to leave the posh East Side and search the Soho streets for some loving from Marcy (Rosanna Arquette), the pretty young woman he met in a downtown cafe. He has her phone number and works up the nerve to call. She wants to see him, and so Paul grabs $20, hails a taxi and sets out. The weirdness begins when he loses his money during the high-speed cab ride. His visit to Marcy's loft, where he meets her crazed artist roommate Kiki (Linda Fiorentino), is a disaster, as is his encounter with the beehive-wearing retro waitress Julie (Teri Garr). ~ Sandra Brennan, Rovi
Martin Scorsese explores the life of organized crime with his gritty, kinetic adaptation of Nicolas Pileggi's best-selling Wiseguy, the true-life account of mobster and FBI informant Henry Hill. Set to a true-to-period rock soundtrack, the story details the rise and fall of Hill, a half-Irish, half-Sicilian New York kid who grows up idolizing the "wise guys" in his impoverished Brooklyn neighborhood. He begins hanging around the mobsters, running errands and doing odd jobs until he gains the notice of local chieftain Paulie Cicero (Paul Sorvino), who takes him in as a surrogate son. As he reaches his teens, Hill (Ray Liotta) is inducted into the world of petty crime, where he distinguishes himself as a "stand-up guy" by choosing jail time over ratting on his accomplices. From that moment on, he is a part of the family. Along with his psychotic partner Tommy (Joe Pesci), he rises through the ranks to become Paulie's lieutenant; however, he quickly learns that, like his mentor Jimmy (Robert DeNiro), his ethnicity prevents him from ever becoming a "made guy," an actual member of the crime family. Soon he finds himself the target of both the feds and the mobsters, who feel that he has become a threat to their security with his reckless dealings. Goodfellas was rewarded with six Academy Award nominations including Best Picture; Pesci would walk away with Best Supporting Actor for his work. ~ Jeremy Beday, Rovi
Alice Doesn't Live Here Anymore
Martin Scorsese's first Hollywood studio production also marked his first (and only) foray into a woman-centered story. Alice Hyatt (Ellen Burstyn), a resigned Southwest housewife, takes advantage of her trucker husband's sudden death to hit the road with her bratty son Tommy (Alfred Lutter) and pursue her childhood dream of a singing career. She finds a job as a lounge singer, but after a horrific encounter with an abusive new beau (Harvey Keitel), she flees and winds up taking a waitress job at Mel's Diner, run by gruff cook Mel (Vic Tayback). With her career on hold, Alice soon finds strength and self-worth through her friendship with the other waitresses, saucy Flo (Diane Ladd) and spacy Vera (Valerie Curtin). When sensitive rancher David (Kris Kristofferson) starts courting her, Alice wonders if she wants to abandon her goals for domesticity again. To contrast Alice's dream life with her reality, Scorsese created a stylized opening sequence of Alice as a child reminiscent of The Wizard of Oz, Duel in the Sun and Gone With the Wind, before shifting into the present-day atmospheric immediacy of location shooting and scenes built out of improvisations. That opening sequence alone cost over twice as much as Scorsese's debut feature, Who's That Knocking At My Door?. ~ Lucia Bozzola, Rovi
Who's That Knocking at My Door?
Shot over a period of several years and shown under the alternate titles I Call First and J.R., Martin Scorsese's debut feature is an autobiographical look at the conflicted life of a young, Italian-American, Catholic man in early 1960s New York. J.R. (then-unknown Harvey Keitel) spends his days and nights hanging out with his buddies in Little Italy, going to the movies, goofing around, and looking to score with "broads." When he meets The Girl (Zina Bethune) on the Staten Island ferry, she rocks his world with a shared admiration for John Ford's The Searchers (1956). A blond WASP beauty, the girl is more sophisticated than J.R.'s parochial friends and shows him that there's more to life than the neighborhood. J.R. falls in love, yet he refuses to soil her by sleeping with her. The girl, however, reveals that she is not a virgin because of a date rape. Locked in his Catholic virgin-whore complex, J.R. is disgusted by the revelation, but, after a squalid evening with his friends, J.R. decides to do the righteous thing by forgiving and marrying her. The girl will have none of it, leaving J.R. to sort out his prejudices on his own. Originally conceived as part of a trilogy with what would become Mean Streets (1973), the black-and-white Who's That Knocking already has the acute grasp of daily life, fluid camera movements, and vivid editing of images to music (such as the slo-mo scuffle to the lilting "El Watusi") that would define Scorsese's later work. Despite a successful debut at the 1967 Chicago Film Festival, no distributor picked up the film until a soft porn distributor agreed to release it if Scorsese added a nude scene. By the time, Who's That Knocking was finally released in 1969, with J.R.'s sexy fantasy accompanied by The Doors's "The End," the loose counterculture mood had made the focus on sexual repression seem out-of-date. ~ Lucia Bozzola, Rovi
Cast & Crew
- Griffin Dunne - Paul Hackett
- Rosanna Arquette - Marcy
- Verna Bloom - June
- Linda Fiorentino - Kiki
- Teri Garr - Julie