Hugo is a 2011 historical adventure drama film directed and produced by Martin Scorsese and adapted for the screen by John Logan. Based on Brian Selznick's book The Invention of Hugo Cabret, it tells the story of a boy who lives alone in the Gare Montparnasse railway station in Paris in the 1930s. Hugo is Scorsese's first film shot in 3D, of which the filmmaker remarked, "I found 3D to be interesting, because the actors were more upfront emotionally, their slightest move, their slightest intention is picked up much more precisely." The film was released in the United States on November 23, 2011. Hugo received critical acclaim and received 11 Academy Award nominations, more than any other film that year, won five awards: Best Cinematography, Best Art Direction, Best Sound Mixing, Best Sound Editing, Best Visual Effects, it was nominated for eight BAFTAs, winning two of the eight, was nominated for three Golden Globe awards, earning Scorsese his third Golden Globe Award for Best Director. Despite this, the film was a commercial failure, grossing $185 million against its $150–$170 million budget.
In 1931 Paris, 12-year-old Hugo Cabret lives with his widowed, clockmaker father, who works at a museum. Mr. Cabret finds a broken automaton - a mechanical man designed to write with a pen - at the museum, he and Hugo try to repair it, with Mr. Cabret documenting the automaton in a notebook; when his father dies, Hugo goes to live with his resentful, alcoholic uncle, is forced to maintain the clocks at the Gare Montparnasse railway station. When Claude goes missing for several days, Hugo continues maintaining the clocks, fearing that vindictive Station Inspector Gustave Dasté will send him away as an orphan if Claude's absence is discovered. Hugo attempts to repair the automaton with stolen parts, believing it contains a message from his father, but the machine requires a heart-shaped key that his father could not make before his death. Hugo is caught stealing from a toy store; the owner, looks through Hugo's father's notebook, takes it from Hugo, threatens to destroy it. Georges' goddaughter, offers to help Hugo get the notebook back.
As their friendship grows, he is astonished when Isabelle inadvertently reveals she wears the missing key as a necklace given to her by Georges. He shows her the automaton, when started now the machine draws out a scene that Hugo recognizes from his father's description of the film A Trip to the Moon. Isabelle identifies the signature, as her godfather, she sneaks Hugo into her home, where they find a hidden cache of more imaginative drawings of Méliès, but are caught by Georges, who banishes Hugo from his home. Hugo and Isabelle go to the Film Academy Library and find a book about the history of cinema that praises Méliès' contributions, they meet the book's author, René Tabard, a film expert, surprised to hear that Méliès might still be alive, as he had disappeared after World War I along with nearly all copies of his films. Excited at the chance to meet him, René agrees to meet Isabelle and Hugo at Georges' home to show his copy of A Trip to the Moon, hoping it will invigorate Georges; the next day, Hugo discovers that the key has somehow found its way onto the railway tracks in the station.
As he drops onto the track to retrieve it, he is run over by an uncontrollable train that smashes through the walls of the station. Hugo wakes up to discover. After noticing that a pocket watch hanging from the rafters of his home is missing, Hugo can still hear an ominous ticking emanating from him, he discovers he's been turned into the automaton, only for him to wake up again to discover that this was yet another nightmare and disturbingly symbolizing Hugo’s belief of all beings having a sole purpose in life. On the scheduled night, Georges' wife Jeanne tries to turn them away, but René compliments Jeanne as Jeanne d'Alcy, an actress in many of Méliès' films, she allows them to continue; as the film plays, Georges is woken by the sound of René's hand-cranked film projector, Jeanne convinces him to cherish his accomplishments rather than regret his lost dream. Georges recounts that as a stage magician, he had been fascinated by motion pictures, used the medium to create imaginative works through his Star Film Company, but was forced into bankruptcy following the war, closing his studio and selling his films to be turned into raw materials.
He laments that an automaton he made that he donated to a museum was lost. Hugo recognizes this is the same automaton he has, races to the station to retrieve it, he is caught by Gustave, who has learned that Claude's body was found some time ago, threatens to take Hugo to the orphanage. Hugo drops the automaton on the tracks, he is run over by a train like his dream, but Gustave saves him and the automaton. Georges tells Gustave that he will now see to Hugo, adopting him as his son; some time Georges is named a professor at the Film Academy, is paid tribute through a showcase of his films recovered by René. Hugo joins in with his new family as they celebrate at the apartment, where the guests include a mellower Gustave, he has a new leg brace, is in love with Lisette, a flower seller at the station. As the movie ends, Isabelle starts to write down Hugo's story and the automaton is shown in Hugo's new room, staring into space. Michael Pitt, Martin Scorsese, Brian Selznick have cameo roles. GK Films acquired the screen rights to The Invention of Hugo
Boxcar Bertha is a low budget 1972 American romantic crime drama film directed by Martin Scorsese. It is a loose adaptation of Sister of the Road, a pseudo-autobiographical account of the fictional character Bertha Thompson, written by Ben L. Reitman, it was Scorsese's second feature film. The film tells the story of Boxcar Bertha Thompson and "Big" Bill Shelly, two train robbers and lovers who are caught up in the plight of railroad workers in the American South; when Bertha is implicated in the murder of a wealthy gambler, the pair become fugitives. Barbara Hershey as Boxcar Bertha David Carradine as Big Bill Shelly Barry Primus as Rake Brown Bernie Casey as Von Morton John Carradine as H. Buckram Sartoris Harry Northup as Harvey Hall Victor Argo as First McIver After the success of Bloody Mama, Roger Corman wanted to make another female gangster film. Julie Corman came across the story of Boxcar Bertha. Martin Scorsese was hired to direct on the strength of his first feature, he was given the lead actors, including Barbara Hershey, David Carradine, Barry Primus, a shooting schedule of 24 days in Arkansas.
The Reader Railroad was used for the train scenes. The locomotive in those scenes was 1920 Baldwin 2-6-2 #108, who saw service on the Conway Scenic Railroad in the late 1970s; the engine is at the Blacklands Railroad yard in Sulphur Springs Texas, awaiting restoration. Locomotive #1702, a USATC S160 2-8-0 built by Baldwin in 1942, was seen in the film as well; the locomotive is now operational at the Great Smoky Mountains Railroad. Scorsese makes a cameo in the film as one of Bertha's clients during the brothel montage. Hershey called the film "a lot of fun though it's crippled by Roger Corman and the violence and sex, but between the actors and Marty Scorsese the director, we had a lot of fun. We had characters down but one tends to not see all that, because you end up seeing all the blood and sex." Boxcar Bertha received mixed reviews from critics. It holds a rating of 48% on Rotten Tomatoes based on 21 reviews. List of American films of 1972 Boxcar Bertha on IMDb Boxcar Bertha at AllMovie Boxcar Bertha at the TCM Movie Database Boxcar Bertha at Rotten Tomatoes
Neil Leslie Diamond is an American singer-songwriter and actor. With 38 songs in the Top 10 on the Billboard Adult Contemporary charts, Diamond has sold more than 100 million records worldwide, making him one of the best-selling musicians of all time. On the Hot 100 and Adult Contemporary charts, he has had ten No. 1 singles: "Cracklin' Rosie", "Song Sung Blue", "Longfellow Serenade", "I've Been This Way Before", "If You Know What I Mean", "Desiree", "You Don't Bring Me Flowers", "America", "Yesterday's Songs", "Heartlight". Diamond was inducted into the Songwriters Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 2011. Additionally, he received the Sammy Cahn Lifetime Achievement Award in 2000 and in 2011 was an honoree at the Kennedy Center. In 2018, Diamond received the Grammy Lifetime Achievement Award. Diamond was born in Brooklyn, New York, to a Jewish family descended from Russian and Polish immigrants, his parents were a dry-goods merchant. He grew up in several homes in Brooklyn, having spent four years in Cheyenne, where his father was stationed in the army.
In Brooklyn he attended Erasmus Hall High School and was a member of the Freshman Chorus and Choral Club, along with classmate Barbra Streisand. We hung out in the front of Erasmus High and smoked cigarettes." After his family moved, he attended Abraham Lincoln High School, was a member of the fencing team. On the team was his best friend, future Olympic fencer Herb Cohen. For his 16th birthday, he received his first guitar; when he was 16 and still in high school, Diamond spent a number of weeks at Surprise Lake Camp, a camp for Jewish children in upstate New York, when folk singer Pete Seeger performed a small concert. Seeing the recognized singer perform, watching other children singing songs for Seeger that they wrote themselves, had an immediate effect on Diamond, who became aware of the possibility of writing his own songs. "And the next thing, I got a guitar when we got back to Brooklyn, started to take lessons and immediately began to write songs," he said. He added that his attraction to songwriting was the "first real interest" he had growing up, besides helping him release his youthful "frustrations".
Diamond used his newly developing skill to write poetry. By writing poems for girls he was attracted to in school, he soon learned it won their hearts, his male classmates took note and began asking him to write poems for them which they would sing and use with equal success. He spent the summer following his graduation as a waiter in the Catskills resort area. There he first met Jaye Posner, who would years become his wife. Diamond next attended New York University as a pre-med major on a fencing scholarship, again on the fencing team with Herb Cohen, he was a member of the 1960 NCAA men's championship fencing team. Bored in class, he found writing song lyrics more to his liking, he began cutting classes and taking the train up to Tin Pan Alley, where he tried to get some of his songs heard by local music publishers. In his senior year, when he was just 10 units short of graduation, Sunbeam Music Publishing offered him a 16-week job writing songs for $50 a week, he dropped out of college to accept it.
After his 16 weeks at Sunbeam Music were up, he was not rehired, began writing and singing his own songs for demo purposes. "I never chose songwriting," he says. "It just absorbed me and became more and more important in my life."Diamond's first recording contract was billed as "Neil and Jack", an Everly Brothers-type duo comprising Diamond and high school friend Jack Packer. They recorded two unsuccessful singles: "You Are My Love at Last" b/w "What Will I Do" and "I'm Afraid" b/w "Till You've Tried Love", both released in 1962. Cashbox and Billboard magazines gave all four sides excellent reviews. In 1962, Diamond signed with Columbia Records as a solo performer. In July 1963 Columbia released the single "At Night" b/w "Clown Town", which Billboard gave an excellent review to Clown Town and Cashbox gave both sides excellent reviews, but it still failed to chart. Columbia dropped him from their label and he went back to writing songs in and out of publishing houses for the next seven years, he wrote wherever he could, including on buses, used an upright piano above the Birdland Club in New York City.
One of the causes of this early nomadic life as a songwriter was his songs' wordiness: "I'd spent a lot of time on lyrics, they were looking for hooks, I didn't understand the nature of that," he says. During those years, he was able to sell only about one song a week enough to survive on, he found himself earning enough to spend only 35 cents a day on food. But the privacy he had above the Birdland Club allowed him to focus on writing without distractions. I wasn't under the gun, interesting songs began to happen, songs that had things none of the others did." Among them were "Cherry, Cherry" and "Solitary Man". "Solitary Man" was the first record. It remains one of his personal all-time favorites, as it was about his early years as a songwriter though he failed to realize it at the time: It wasn't until years when I went into Freudian analysis, that I understood that it was me, it was an outgrowth of my despair. Diamond spent his early career as a songwriter in the Brill Building, his first success as a songwriter came in November 1965, with "Sunday and Me", a Top 20 hit for Jay and the Americans.
A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original adaptations from existing pieces of writing. In them, the movement, actions and dialogues of the characters are narrated. A screenplay written for television is known as a teleplay; the format is structured so that one page equates to one minute of screen time, though this is only used as a ballpark estimate and bears little resemblance to the running time of the final movie. The standard font is 10 pitch Courier Typeface; the major components are dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example descriptions of settings, character movements, or sound effects; the dialogue is the words the characters speak, is written in a center column. Unique to the screenplay is the use of slug lines. A slug line called a master scene heading, occurs at the start of every scene and contains three pieces of information: whether the scene is set inside or outside, the specific location, the time of day.
Each slug line begins a new scene. In a "shooting script" the slug lines are numbered consecutively for ease of reference. American screenplays are printed single-sided on three-hole-punched paper using the standard American letter size, they are held together with two brass brads in the top and bottom hole. The middle hole is left empty as it would otherwise make it harder to read the script. In the United Kingdom, double-hole-punched A4 paper is used, taller and narrower than US letter size; some UK writers format the scripts for use in the US letter size when their scripts are to be read by American producers, since the pages would otherwise be cropped when printed on US paper. Because each country's standard paper size is difficult to obtain in the other country, British writers send an electronic copy to American producers, or crop the A4 size to US letter. A British script may be bound by a single brad at the top left hand side of the page, making flicking through the paper easier during script meetings.
Screenplays are bound with a light card stock cover and back page showing the logo of the production company or agency submitting the script, covers are there to protect the script during handling which can reduce the strength of the paper. This is important if the script is to pass through the hands of several people or through the post. Reading copies of screenplays are distributed printed on both sides of the paper to reduce paper waste, they are reduced to half-size to make a small book, convenient to read or put in a pocket. Although most writing contracts continue to stipulate physical delivery of three or more copies of a finished script, it is common for scripts to be delivered electronically via email. Screenplays and teleplays use a set of standardizations, beginning with proper formatting; these rules are in part to serve the practical purpose of making scripts uniformly readable "blueprints" of movies, to serve as a way of distinguishing a professional from an amateur. Motion picture screenplays intended for submission to mainstream studios, whether in the US or elsewhere in the world, are expected to conform to a standard typographical style known as the studio format which stipulates how elements of the screenplay such as scene headings, transitions, character names and parenthetical matter should be presented on the page, as well as font size and line spacing.
One reason for this is that, when rendered in studio format, most screenplays will transfer onto the screen at the rate of one page per minute. This rule of thumb is contested — a page of dialogue occupies less screen time than a page of action, for example, it depends enormously on the literary style of the writer — and yet it continues to hold sway in modern Hollywood. There is no single standard for studio format; some studios have definitions of the required format written into the rubric of their writer's contract. The Nicholl Fellowship, a screenwriting competition run under the auspices of the Academy of Motion Picture Arts and Sciences, has a guide to screenplay format. A more detailed reference is The Complete Guide to Standard Script Formats. A "spec script" or speculative screenplay is a script written to be sold on the open market with no upfront payment, or promise of payment; the content is invented by the screenwriter, though spec screenplays can be based on established works, or real people and events.
For American TV shows, the format rules for hour-long dramas and single-camera sitcoms are the same as for motion pictures. The main difference is. Multi-camera sitcoms use a specialized format that derives from stage plays and radio. In this format, dialogue is double-spaced, action lines are capitalized, scene headings, character entrances and exits, sound effects are capitalized and underlined. Drama series and sitcoms are no longer the only formats. With reality-based programming crossing genres to create various hybrid programs, many of the so-called "reality" programs are in a large part scripted in format; that is, the overall skeleton of the show and its episodes are written to di
Mean Streets is a 1973 American crime film directed by Martin Scorsese and co-written by Scorsese and Mardik Martin. The film stars Robert De Niro, it was released by Warner Bros. on October 2, 1973. De Niro won the National Society of Film Critics award for Best Supporting Actor for his role as "Johnny Boy" Civello. In 1997, Mean Streets was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant". Charlie is a young Italian-American man in New York City, he is hampered by his feeling of responsibility towards his reckless younger friend Johnny Boy, a small-time gambler who owes money to many loan sharks. Charlie works for his uncle Giovanni, a powerful loan shark and political fixer collecting debts, he is having a secret affair with Johnny Boy's cousin Teresa, who has epilepsy and is ostracized because of her condition—especially by Charlie's uncle. Charlie's uncle wants Charlie not to be such close friends with Johnny, saying "Honorable men go with honorable men."
Charlie is torn between his illicit work for his uncle. Johnny becomes self-destructive and disrespectful of his creditors. Failing to receive redemption in the church, Charlie seeks it through sacrificing himself on Johnny's behalf. At a bar, Michael, a small time loan shark, comes looking for Johnny to "pay up". To his surprise, Johnny insults him. Michael lunges at Johnny. After a tense standoff, Michael walks away, Charlie convinces Johnny that they should leave town for a brief period. Teresa insists on coming with them. Charlie borrows a car and they drive off, leaving the neighborhood without incident. A car, following them pulls up, Michael at the wheel and his henchman, Jimmy Shorts, in the backseat. Jimmy fires several shots at Charlie's car, hitting Johnny in the neck and Charlie in the hand, causing Charlie to crash the car. An ambulance and police arrive at the scene, paramedics take Charlie and Johnny away. Apart from his first actual feature, Who's That Knocking at My Door, a directing project given him by early independent film maker Roger Corman, Boxcar Bertha, this was Scorsese's first feature film of his own design.
Director John Cassavetes told him after he completed Boxcar Bertha: "You’ve just spent a year of your life making a piece of shit." This inspired Scorsese to make a film about his own experiences. Cassavetes told Scorsese he should do something like Who's That Knocking At My Door, which Cassavetes had liked, came Mean Streets, based on actual events Scorsese saw regularly while growing up in New York City's Little Italy; the screenplay for the movie began as a continuation of the characters in Who's That Knocking. Scorsese changed the title from Season of the Witch to Mean Streets, a reference to Raymond Chandler's essay "The Simple Art of Murder", wherein Chandler writes, "But down these mean streets a man must go, not himself mean, neither tarnished nor afraid." Scorsese sent the script to Corman. Scorsese was anxious to make the film so he considered this option, but actress Verna Bloom arranged a meeting with potential financial backer Jonathan Taplin, the road manager for the musical group The Band.
Taplin liked the script and was willing to raise the $300,000 budget that Scorsese wanted if Corman promised, in writing, to distribute the film. The blaxploitation suggestion was to come to nothing when funding from Warner Bros. allowed him to make the film as he intended with Italian-American characters. The film was well received by most critics. Dave Kehr of the Chicago Reader said that "the acting and editing have such original, tumultuous force that the picture is gripping". Vincent Canby of The New York Times reflected that "no matter how bleak the milieu, no matter how heartbreaking the narrative, some films are so beautifully realized they have a kind of tonic effect that has no relation to the subject matter". Time Out magazine called it "one of the best American films of the decade". Retrospectively, Roger Ebert of the Chicago Sun-Times inducted Mean Streets into his Great Movies list and wrote: "In countless ways, right down to the detail of modern TV crime shows, Mean Streets is one of the source points of modern movies."
In 2013, the staff of Entertainment Weekly voted the film the seventh greatest of all time. In 2015, it was ranked 93rd on BBC's "The 100 greatest American films" list. James Gandolfini, when asked on Inside the Actors Studio which films most influenced him, cited Mean Streets among them, saying "I saw that 10 times in a row...."The film holds a 96% "Certified Fresh" rating on Rotten Tomatoes based on 52 reviews, with an average rating of 8.9/10 and the consensus: "Mean Streets is a powerful tale of urban sin and guilt that marks Scorsese's arrival as an important cinematic voice and features electrifying performances from Harvey Keitel and Robert De Niro." Mean Streets was released on VHS and Betamax in 1985. The film debuted as a letterboxed LaserDisc on October 7, 1991 in the US, it was released on Blu-ray for the first time on April 6, 2011 in France, in America on July 17, 2012. List of American films of 1973 Mean Streets on IMDb Mean Streets at AllMovie Mean Streets at the TCM Movie Database Mean Streets at Rotten Tomatoes
Time Fades Away
Time Fades Away is a 1973 live album by Canadian musician Neil Young. Consisting of unreleased material, it was recorded with The Stray Gators on the support tour following 1972's successful Harvest. Due to Young's dissatisfaction with the tour, it was not reissued on CD. Time Fades Away received much critical praise and was pirated after lapsing out of print because of the ensuing demand from fans, it was reissued on vinyl only as part of the Official Release Series Discs 5-8 Vinyl Box Set for Record Store Day in 2014. The album saw an official CD release in August 2017 as part of the CD version of the boxset, it was made available as a digital download for purchase through the PonoMusicWorld website, the iTunes store and Qobuz. Though "Love in Mind" dates from a 1971 solo tour, all other songs on the album are from the Harvest tour in early 1973; the program featured an acoustic solo set followed by an electric set with The Stray Gators. Longtime collaborator and former Crazy Horse guitarist Danny Whitten had been set to join the Gators as a second guitarist before being sent home from rehearsals after it became evident that he was in no condition to embark on the rigorous tour.
He succumbed to a fatal combination of alcohol on the night following his dismissal. Unlike Young's previous ensembles, The Stray Gators consisted of notable Nashville and Los Angeles session musicians. During the rehearsals, drummer Kenneth Buttrey demanded a salary of $100,000 to compensate for lost session work, leading Nitzsche to prevail upon the singer to extend this salary to the other band members. Although Young reluctantly acquiesced, Nitzsche would reflect that "Neil got so pissed off... I don't think things recovered after that."In the wake of the dulcet Harvest, audiences did not always react positively to the new songs, many of which were emblematic of the Gators' raucous and electrified live sound. Struggling to cope with Whitten's death, Young lambasted band members' performances following concerts and scheduled soundchecks that were cancelled on short notice; such behavior frustrated Buttrey, who left the band and was replaced by former Turtles/Jefferson Airplane percussionist Johnny Barbata.
Having stepped in to replace Dallas Taylor on Crosby, Nash & Young's 1970 tour, Barbata performed on all of the Stray Gators selections on the album. At the instigation of Drummond, Young developed a penchant for tequila, with the singer remarking that "it does something else to me than alcohol does."Other band members performed erratically: according to producer Elliot Mazer, Jack Nitzsche would spew obscenities into his switched-off vocal microphone, while pedal steel/dobro player Ben Keith was so inebriated at one soundcheck that he could not recall the key of "Don't Be Denied", a song slated for the album. Following the loss of a pickup on his signature Old Black, Young switched to a Gibson Flying V. Biographer Jimmy McDonough has characterized Young's performances on the instrument as "the worst guitar playing of his career."Alcohol abuse and strained singing would lead the singer to develop a throat infection in the final days of the tour. In a partial reunion of CSNY, Young hired David Crosby and Graham Nash to augment the harmonies and play rhythm guitar.
Despite their integration, the band's repertoire remained confined to Young originals. Moreover, clashes among The Stray Gators continued, with Nitzsche complaining that he couldn't hear himself playing because Crosby's 12-string electric guitar overpowered the sound mix. Following sixty-two concerts over three months, the tour ended at the Salt Palace in Salt Lake City on April 3, 1973. Time Fades Away was recorded directly from the soundboard to 16-track and mixed simultaneous to LP cutting using the Quad-Eight Compumix. There were no 2 track masters made of this record; the master discs were cut directly from the 16 track masters through the Compumix system. A mix was recorded to a second 16 track machine--we had 2 that would run together--to feed the variable pitch system of the lathe--but was discarded when we were through. I was the mastering engineer. While no master tape was created in the traditional sense, stereo tapes were in fact created while cutting to enable future remastering. Time Fades Away was released on October 15, 1973.
The album reached #22 on the Billboard Charts, achieved gold status, selling over 1 million copies in both the US and UK. It was issued on cassette and 8-track; the album's title track was released as a single, with the B-side of "Last Trip to Tulsa", a live version of the song taken from the Time Fades Away tour and unavailable anywhere else. Upon its release, Time Fades Away received positive reviews from Rolling Stone, The New York Times, Robert Christgau of The Village Voice. In more recent years, it has been rated by AllMusic and Blurt Online. R. E. M. has cited Time Fades Away as a source of inspiration for New Adventures in Hi-Fi. On December 31, 2013, Widespread Panic played the following three songs from Time Fades Away: "Journey Through The Past", "Don't Be Denied", "Time Fades Away" at a concert in Atlanta. Neil Young commented on Time Fades Away in the original, unreleased liner notes for his 1977 triple-album compilation Decade: Time Fades Away. No songs from this album are included here.
It was recorded on my biggest tour 65 s
Who's That Knocking at My Door
Who's That Knocking at My Door titled I Call First, is a 1967 drama film and directed by Martin Scorsese, in his feature film directorial debut. and Harvey Keitel's debut as an actor. Exploring themes of Catholic guilt similar to those in his film Mean Streets, the story follows Italian-American J. R. as he struggles to accept the secret hidden by his free-spirited girlfriend. This film was the winner of the 1968 Chicago Film Festival. J. R. is a typical Catholic Italian-American young man on the streets of New York City. As an adult, he stays close to home with a core group of friends with whom he drinks and carouses around, he gets involved with a local girl he meets on the Staten Island Ferry, decides he wants to get married and settle down. As their relationship deepens, he declines her offer to have sex because he thinks she is a virgin and he wants to wait rather than "spoil" her. One day, his girlfriend tells him; this crushes J. R. and he attempts to return to his old life of drinking with his friends.
However, after a wild party with friends, he realizes he still loves her and returns to her apartment one early morning. He awkwardly tells her that he forgives her and says that he will "marry her anyway." Upon hearing this, the girl tells him marriage would never work. J. R. becomes enraged and calls her a whore, but recants and says he is confused by the whole situation. She tells him to go home, he returns to the Catholic church, but finds no solace. Martin Scorsese appears in an uncredited role as a gangster. Who's That Knocking at My Door was filmed over the course of several years, undergoing many changes, new directions and different names along the way; the film began in 1965 as a student short film about J. R. and his do-nothing friends called Bring on the Dancing Girls. In 1967, the romance plot with Zina Bethune was introduced and spliced together with the earlier film, the title was changed to I Call First; this version of the film received its world premiere at the Chicago International Film Festival in November 1967.
In 1968, exploitation distributor Joseph Brenner offered to buy the picture and distribute it on the condition that a sex scene be added to give the film sex exploitation angles for marketing purposes. Scorsese shot and edited a technically beautiful but gratuitous montage of J. R. fantasizing about bedding a series of prostitutes and the film became Who's That Knocking at My Door. The film was re-issued under the title J. R. in 1970, however all subsequent releases have been published under the 1968 title. The film was shot with a combination of 16 mm cameras. Scorsese shot most of the 35 mm footage with a Mitchell BNC camera, a cumbersome camera that impeded mobility, he opted to shoot several scenes with the 16 mm Eclair NPR camera in order to introduce greater mobility blow up the footage to 35 mm. American critic Roger Ebert gave the film an positive review after its world premiere at the Chicago International Film Festival in November 1967, he called the film "a work, genuine, artistically satisfying and technically comparable to the best films being made anywhere.
I have no reservations in describing it as a great moment in American movies."When the film received its theatrical release two years Ebert admitted that he had been a little over eager with his first review, admitting that "Scorsese was too obvious, the film has serious structural flaws." However, he was still positive towards the film, suggested that "It is possible that with more experience and maturity Scorsese will direct more polished, finished films." Martin Scorsese's mother, appears as J. R.'s mother serving food near the end. Mrs. Scorsese would continue to appear in many of her son's films until her death in 1997. Scorsese himself appears uncredited as one of the gangsters. To this day, he still makes cameo appearances in many of his films; the role of Sally Gaga is played by the father of rapper Pizon. List of American films of 1967 Who's That Knocking at My Door? on IMDb Who's That Knocking at My Door? at AllMovie Who's That Knocking at My Door? at Rotten Tomatoes Who's That Knocking at My Door? at the TCM Movie Database