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Must See Movie...

It's no definitive masterpiece but it's damn close.

Awesome Movie

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

All of the classic Scorsese preoccupations (masculinity, fraternal bonding, religion, movies, music... ) are already here, and touched upon to quietly devastating effect.Heresy as it may be to say this, this film makes me wish that Keitel had swapped places with De Niro, as Marty's primary leading man, before Leo came along...It's refreshing in 1967 to see Scorsese wrestling with the treatment of women. The idea that everything goes back to 'blame', and that it's somehow the woman's responsibility to 'repent', instead of requiring a man to deal with his own insecurities. The subject presents perhaps a necessary reminder for some, that females have been getting a raw deal for a long time... even if fewer people were addressing it, back then.(and just in case anyone is tempted to say anything... I'm a social justice pacifist, not a social justice warrior... It means you can hold a contrary opinion, and I won't fight you over it... but I still think you're wrong!) :-)The main takeaway from this is: Don't expect the mere existence of suffering and pain to be the factor which repairs something that is broken... because sometimes, it can't.They should have kept "I Call First" as the title, by the way!This is a fabulous film, and despite having seen it for the first time today, is already up there with "Raging Bull" as my favourite Scorsese work (it's probably a coincidence that they're both in black and white!)

Scorsese's first feature film was already packed with the trademarks and themes that he'll be known for throughout his lengthy and prolific career – contemporary music, quick edits, slow-motions, machismo, male bonding, goddess-whore complex, faith and Catholic guilt. Playing the lead role is his long-time collaborator and friend, Harvey Keitel, alongside TV star Zina Bethune. This film also marks his first collaboration with film editor Thelma Schoonmaker, on what would become a historic partnership between the two, resulting into three Oscar trophies for Thelma. This early Scorsese black-and-white film is both inventive and ragged, influenced clearly by the famous French cinematic movement of the 60s and other films Scorsese adored while growing up. Originally titled as "I Call First" in 1967, Scorsese was asked to insert nude scenes in the film to get it more distribution and eventually called "Who's That Knocking at My Door" and advertised as some sort of sex exploitation film – though those spliced nude fantasy scenes were shot terrifically, if not reasonably. This may not be the best example of the director's work and style, but we can see here the genesis of his genius. A debut film worth a look.

It's definitely not one of Scorsese's favorites, and probably for good reason. Who's That Knocking at My Door sees Scorsese in his debut without much polish or knack for how to effectively structure a feature debut.The problem with the film mostly falls on inexperience. Much like his second film, you see flashes of his greatness in camera movements and poise in developing likable character dynamics. Heck, he even showed promise in his screen writing abilities in a few scenes, and that's not even something he does all that often anymore. But with a low budget, sometimes sloppy editing, and a narrative that lacked substance, there isn't a whole lot to ride home about here.Certain aspects of the film reminded me about Richard Linklater's Before Trilogy, in that a good portion of the film just walking and talking. That, I found interesting. But I wasn't as invested in the story when it falls into the trap of gratuitous sex scenes and unnecessary yelling. Something, that Scorsese has been harped on later in his career, but it seemed really out of place in what was otherwise, a calm romance-drama.This is Scorsese's first feature, however. So perhaps certain narrative mishaps and editing issues should be forgiven, considering it underwent many changes during its production. It's also a far more artistically structured film than his subsequent movies, so by default it's more divisive. The characters just didn't connect with me. It plays more as an experiment than an experience, if that makes any sense. In all, there's flashes of the great Scorsese everyone loves, but not enough narratively here to make for a worthwhile viewing.+Interesting directing choices+Plenty of Scorsese staples-Narratively flawed-Not much substance-Gratuitous at times4.6/10

Set in New York, JR (played by Harvey Keitel) falls in love with a local girl (played by Zina Bethune). He wants to marry her and settle down but discovers that she was once a victim of rape. This raises all sorts of issues with JR.Martin Scorsese's first feature film. Not great - low production values, confusing jump-style direction, convoluted story that ultimately goes nowhere. Harvey Keitel, also making his feature film debut, is irritating in the lead role.Yet it bares some semblances of the later Scorsese trademarks. A degree of style, and story-building. Only worth watching from an historical perspective though.