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Mean Streets Blu-ray

United States
Warner Bros. | 1973 | 112 min | Rated R | Jul 17, 2012

Mean Streets (Blu-ray)
Large:


Video
Codec: MPEG-4 AVC (21.96 Mbps)
Resolution: 1080p
Aspect ratio: 1.77:1
Original aspect ratio: 1.85:1

Audio
English: DTS-HD Master Audio Mono (48kHz, 24-bit)
Spanish: Dolby Digital Mono
Portuguese: Dolby Digital Mono

Subtitles
English SDH, French, Spanish, Portuguese

Discs
25GB Blu-ray Disc
Single disc (1 BD)

Playback
Region free

Price
List price: $19.98, Price history
Amazon: $13.46 (Save 33%)
Best Buy: $12.99 (Save 35%)  
New from: $9.46 (Save 53%)
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Buy Mean Streets on Blu-ray

Movie rating
1 2 3 4 5 6 7 8 9 10
7.8
/10
142
ratings.


Blu-ray rating
Video 4.0 of 54.0
Audio 4.0 of 54.0
Extras 3.4 of 53.4
Based on 2 user reviews

Movie appeal

 
Drama100%
Crime43%
Dark humor24%

82%
popularity
1675
collections
47
fans




Mean Streets

 (1973)

Mean Streets Blu-ray delivers great video and audio in this excellent Blu-ray release

The future is set for Tony and Michael, owning a neighborhood bar and making deals in the mean streets of New York city's Little Italy. For Charlie, the future is less clearly defined. A small-time hood, he works for his uncle making collections and reclaiming bad debts. He's probably too nice to succeed. In love with a woman his uncle disapproves of (because of her epilepsy) and a friend of her cousin, Johnny Boy, a near psychotic whose trouble-making threatens them all, he can't reconcile opposing values. A failed attempt to escape (to Brooklyn) moves them all a step closer to a bitter, almost preordained future.

For more about Mean Streets and the Mean Streets Blu-ray release, see Mean Streets Blu-ray Review published by on where this Blu-ray release scored 4.0 out of 5.

Starring: Robert De Niro, Harvey Keitel, David Proval, Amy Robinson, Richard Romanus, Cesare Danova
Director: Martin Scorsese

» See full cast & crew


Mean Streets Blu-ray, Video Quality

  4.0 of 5

The importance of Kent Wakeford's Mean Streets cinematography can't be overstated and certainly shouldn't be dismissed. Innovative and evocative, it influenced an entire generation of filmmakers and became a template for a new wave of cinematographers desperate to break free of Hollywood convention. "My vision ran with Martin's," Wakeford recalled in a 2009 retrospective interview. "To create a mean, dirty visual look. I wanted to create a tense feeling of needing to keep looking over your shoulder. Martin wanted to capture the anxiety and conflict in each character. It was key." And that's precisely what Scorsese and Wakeford did. The results are extraordinarily effective, even some forty years after being committed to film, and instill the "mean" and distill the "streets" in Mean Streets. It also makes for a soft, grainy, rough-hewn presentation that doesn't exactly lend itself to high definition viewing. There's no mistaking Warner's 1080p/AVC-encoded video transfer for anything less, mind you, but newcomers and untrained videophiles may find themselves asking if something is out of sorts with the image as is. The short answer is no. This is, by and large, the film Scorsese intended and Wakeford shot. The long answer... is a bit more complicated.

There is room for some improvement, I'll admit; a bit more restorative cleanup here, a bit more measured tinkering there. But that really isn't Warner's style, is it? Nor should it be. Warner, perhaps more than any other studio, has developed a reputation for delivering faithful catalog presentations, inherent flaws and all. And that's precisely what the studio does with Mean Streets. Scratches, nicks and other distracting print marks have been carefully removed or minimized (key word "carefully"), color and contrast have been nudged toward levels in line with Scorsese's stated intentions and, as far as I can tell, no invasive, detrimental techniques have been utilized. There will undoubtedly be those who worry themselves sick over whether some form of noise reduction has been aggressively employed, but there isn't any evidence to fuel any such anxiety. The softness I observed was a filmic softness. The grain surges and inconsistencies I noticed trace back to the source. And without any significant artifacting, banding, aliasing, or serious compression anomalies to point to, the encode strikes me as both precise and proficient.

There are some minor differences between the Warner and Carlotta Films release, but without Scorsese or Wakeford's word on the subject, it's difficult to discern which is more accurate. Skintones are a touch warmer in the Carlotta transfer, colors are a bit more saturated, and shadows are slightly more oppressive, none of which suggests the French encode is necessarily more accurate. As for the Warner transfer, fine textures are a tad crisper to my eye, black levels are somewhat more natural, and edges are negligibly sharper. Does one best the other? Only by a matter of preference and, even then, without an absolute certainty as to which better represents the film's original presentation. I personally prefer the more lifelike Warner presentation, but not by a substantial amount. Scorsese and Wakeford's palette breathes, sighs and coughs New York. Grain wreaks its gritty vengeance. Detail, in spite of all its barriers and boundaries, delivers everything Wakeford's handheld 35mm camerawork captures. Most of all, the film retains a consistency and a visceral reliability that makes every scene cohesive with the next, even when the shots involve share little in common.

Ultimately, Warner's transfer is a successful one. It doesn't look shiny and new; something that would undermine everything Scorsese and Wakeford intended Mean Streets to be. And yet it doesn't look as if the film has been mishandled, treated poorly, or rushed to pressing. Not in the slightest. It's clear extensive effort and plenty of tender, loving care has been invested in remastering and, yes, resurrecting Scorsese's 1973 passion project. Could it look better? Perhaps, given more pristine source elements to work with. Some will even prefer the warmer tones of the Region-B Carlotta transfer. But as far as I'm concerned, Warner has provided the version of Mean Streets to own, and the one I'll be adding to my collection.


Mean Streets Blu-ray, Audio Quality

  4.0 of 5

The new Warner release also boasts a fittingly raw 24-bit DTS-HD Master Audio Mono mix that encapsulates Scorsese's rough-n-tumble streets. Though funneled through a single channel, dialogue, effects, ambience and music come together without tripping, crushing or trampling each other. It doesn't sound as if the film was shot yesterday, of course, or even in a proper studio in 1973. It clings to its low-budget roots, abrasive tone and tenor, and the lowliness of its original sound design, as it should. Voices are clear and intelligible yet embedded in a noisy, unruly city on the verge of chaos. Gunshots and outbursts are clean and punchy, shrill and tinny as their '70s temperament makes them at times. Elsewhere, Scorsese's anointed '60s rock songs weave through the drama and violence, not as standout pieces, but as yet another distinct layer in the director's vision of New York, rising and spreading into every alley, storefront and ear. A carefully crafted lossless 5.1 remix would have been welcome, especially as it might have literally spread the music and other elements into the entire soundfield. Still, a faithful mono track shouldn't be underestimated. Mean Streets' DTS-HD MA mix proves as much.


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Mean Streets Blu-ray, News and Updates



Warner SF, Thrillers on Blu-ray (Updated) - March 22, 2012

This summer, Warner Home Entertainment will continue transferring its library catalog onto the HD format. The studio will release Blu-rays for sixteen popular thrillers, including The Butterfly Effect, Coma, Hard to Kill, Next of Kin, Outland, and the Blu-ray ...


Mean Streets Blu-ray, Forum Discussions



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Panic in the Streets (1950) 8 Mar 24, 2013



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