That was an excellent one.

hyped garbage

disgusting, overrated, pointless

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

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.

I watched Mean Streets a few years ago (which is sort of intended as a sequel to this film) and hated it if I'm totally honest. However, I noticed this film on Sky Movies and seeing that it was a forerunner to Mean Streets I decided to check it out (hoping that it would be better than Mean Streets), but nope sadly it's just as bad....Like Mean Streets this film has a virtually non-existent plot which only seems to kick into a gear at past the 1 hour mark (by which point I was long past caring). Even when the plot is established (what little of it there is), Scorsese never really seems interested in his own story (many scenes are punctuated with inappropriate music and potentially powerful scenes are skimmed by or glossed over in favour of many members of the cast goofing around). In fact when watching this, I got the feeling that Scorsese was like an inexperienced teacher who was in charge of a bunch of unruly kids; he has no real control and just lets them do what they want. I felt that Scorsese's immaturity showed through far too often, but thankfully this is something that he grew out of in later life.Scorsese injects the film with pretentious dialogue and pop-culture references (John Wayne's name is mentioned every 30 seconds for about the first 30 minutes of the film). The uninteresting dialogue is evident throughout the running time, but now after watching films like Pulp Fiction (where Tarantino fuses pop-culture and snappy dialogue effortlessly) Scorsese's effort here seems weak in comparison (although it may have at least proved influential).The characters are barely developed, the romance between JR and the girl is trite and the one powerful moment in the film is barely explored and the religious allegory at the end seems to only exist to try to give the picture deeper meaning which it never really earns through the narrative. Like Mean Streets, Who's That Knocking At My Door is tonally confused and totally boring and even though it's only 85 minutes long it took an eternity to get to the end of the picture.As far as I'm concerned Scorsese's career began with Taxi Driver (a fascinating and involving film) and the likes of Mean Streets and Who's That Knocking At My Door are basically failed experiments from a man that would go on to improve his craft. If you're unfortunate enough to have already watched this film then I would suggest skipping Mean Streets and watching Taxi Driver which will showcase how great Scorsese can be.

Here is Martin Scorsese's first feature film, and already, at a mere 25 years old in 1967, it is clear this young man had the determination and eye for visceral images, solid acting and a great ear for soundtracks. A rather raw and unpolished work, Who's That Knocking at My Door works in other ways such as the professionally-done editing by the great Thelma Schoonmaker, another future Scorsese collaborator. In the lead role is a very young Harvey Keitel, who plays the role of a young New York Italian very similar to the nature and style of Martin Scorsese himself. Clearly, there was a special bond between these two that continued for years.The plot, while at times veering wildly off track, focuses on a young couple attempting to overcome a difficult instance in the past that still looms over the future. With numerous Catholic images and references, this is one of the more explicitly religious of Scorsese's work but there is still a definitive drive behind everything. It is certainly worth watching for anyone who is interested in making their own film as well as any fan of Scorsese eager to know how he got to where he is today. Not always great, sometimes very powerful, this film still remains a strong piece of work that encompasses much of future themes Scorsese would come back to: Catholic guilt, relationships between street friends and the difficulties of romance.

This was one of Scorcese's earlier works,, and well i just had a very hard time following this one,, for the most part it was well kinda weird,, some of the music is great like the end by the doors,, the you had this god awful chanting music that was horrible,, Martin what were you thinking,, this movie follows a character named J.R. who falls for this girl,, and well that's about as much as i gather,, story say's she was raped,, they show that scene,, there are very few outside shots,, the movie is in all b/w. which ain't bad,, i guess i'm used to lots of action , gunplay,, something,, although there is a lot of good ole fashioned nudity in here, i just i would call this movie very disjointed at times and that is being kind, this movie took a few years to make,, and now i think i see why.