Cast overview, first billed only: | |||
Zina Bethune | ... |
Girl
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Harvey Keitel | ... |
J.R.
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Anne Collette | ... |
Girl in Dream
(as Ann Collette)
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Lennard Kuras | ... |
Joey
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Michael Scala | ... |
Sally Gaga
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Harry Northup | ... |
Harry
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Tsuai Yu-Lan | ... |
Girl in Dream
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Saskia Holleman | ... |
Girl in Dream
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Bill Minkin | ... |
Iggy at Party
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Philip Carlson | ... |
Boy in Copake
(as Phil Carlson)
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Wendy Russell | ... |
Gaga's Girl
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Robert Uricola | ... |
Boy with Gun
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Susan Wood | ... |
Girl at Party
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Marissa Mathes | ... |
Girl at Party
(as Marrisa Joffrey)
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Catherine Scorsese | ... |
Mother
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J.R. is a typical Italian-American on the streets of New York. When he gets involved with a local girl, he decides to get married and settle down, but when he learns that she was once raped, he cannot handle it. More explicitly linked with Catholic guilt than Scorsese's later work, we see what happens to J.R. when his religious guilt catches up with him. Written by David Gibson <djg@ukc.ac.uk>
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.