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Who's That Knocking at My Door

Who's That Knocking at My Door

1967
Romance, Drama
1h 30m
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. (imdb)
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Who's That Knocking at My Door

1967
Romance, Drama
1h 30m
Your probable score
Avg Percentile 47.71% from 440 total ratings

Ratings & Reviews

(440)
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Rated 07 May 2010
72
75th
Scorsese has something very personal to say, but he's not a great storyteller yet, it would take some more years until he finally made it, with Mean Streets. But in this "college" film, the director shows an avant-garde sensibility, borrowed from the Nouvelle Vague, of course, and presents his favourite themes (guilt, rejection and male camaderie). As Ebert has said, it manages to connect two ages of american filmmaking -- and you can notice that with Scorsese's obsession with John Wayne.
Rated 05 Jun 2007
60
47th
Scorsese's rough draft for _Mean Streets_
Rated 14 Aug 2007
65
30th
This is one of the most average movies I've ever seen, which is something I never thought I'd say about a Scorsese movie. There's nothing bad about it per se, but everything that happened kept disappearing from my mind mere minutes later. To be fair, I was rather tired when I watched it. But I was paying attention; the movie just didn't make any impression on me whatsoever.
Rated 28 Dec 2009
70
14th
A good early effort by Scorsese, but can be skipped by anybody who is not a real fan. Good Keitel performance.
Rated 04 Feb 2010
75
42nd
Good first film by Scorsese, good performance by Keitel, too. However, the plot was not gripping, although it got better at times. It's easy to see that this an early showing what he has learned so far.
Rated 11 Jan 2014
93
87th
Scorsese's first near-masterpiece feels like one of his most personal - in a rare move, dealing exclusively with human interaction and relationships. None of the later gangster thuggery per se, but the exploration of emotional violence (along with the regular good dose of Catholic guilt) makes for an at times quite potently emotional experience -- though you can feel Scorsese pulling at the leash to bring in the 70s and get away from some of the pretentious "mod" stylings that permeate the film.
Rated 26 Jul 2021
71
43rd
We see from the start that Marty is confident and masterful with the camera. He's got inspiration from French New Wave and that bold violent streak that will become a personal calling card. The main faults lie with the narrative and editing. It's pretty obvious that these were multiple projects put together to make one film. Schoonmaker does the most she can with it, but they'll both grow. It's also nice to see some introspection on toxic masculinity in 1967. Great soundtrack too, per usual.
Rated 14 Aug 2007
60
62nd
Early version of MEAN STREETS thematising the moral angst that seems to have been one of Scorsese's preoccupations as a young man.
Rated 26 Oct 2008
80
56th
Considerado o primeiro longa de Scorsese. Keitel está excelente, a cena com trilha do The Doors é magnífica!
Rated 30 Dec 2008
2
15th
The obvious comparison is to John Cassavetes' Shadows; the use of handheld black-and-white cameras, the NY setting, the lack of any real plot and the series of essentially pointless conversations and small events between characters. It's more experimental than Shadows, and as well-made, but not much better - both are more interesting as historical artifacts than engaging films.
Rated 24 May 2009
62
64th
First feature film of Scorsese, still in his student years, is bold and different from his later films. Technically, there are far more experimentation. He drew clear influences from new-wave auteurs both from France and America. Plot is very loose, just a bunch of almost unconnected scenes. While some scenes are very impressing, overall it feels like a bold student film, as it is.
Rated 11 Dec 2009
71
50th
Scorsese's first feature covers the same territory as _Mean Streets_, with a more experimental outlook.
Rated 26 Dec 2010
66
37th
65.750
Rated 14 Aug 2012
85
59th
Really good. Scorsese crafts a ton of fascinating, fantastic, original sequences. To me, it's very clear that this guy was going to BE SOMETHING. And Harvey Keitel is damn good in it, too.
Rated 28 Oct 2012
69
6th
68.500
Rated 06 Nov 2012
69
8th
68.500
Rated 18 Sep 2013
67
34th
67.00.
Rated 21 Mar 2015
56
23rd
Uneven, and it shows very clearly that the film is patched together from 2 seperate projects. That being said Harvey Keitel has a great amount of charm, but ultimately it's a meandering film which amounts to one crucial line at the end - one which I think, politically and socially, reflects the era in which it was made and which looks a little incredulous now as the source of a character's conflict.
Rated 17 Feb 2016
74
48th
More enjoyable to watch than reflect on, as the unraveling of the theme from the story only really shows how much of a schmuck Keitel's character is -- but damn, Keitel had the acting chops even with his debut. The middle section of this film, though unfocused, sports some exciting cinematics, including haunting effects added to the pop music soundtrack and more than a handful of clever and involving editing choices, which makes Girl's eventual story-telling a highlight of this film.
Rated 03 Jun 2016
65
45th
The pretentious stuff is as good as the other stuff, and the other stuff is pretty good.
Rated 15 Jul 2019
55
24th
Interesting as a hodgepodge of all of Scorsese's influences, both in all the dialogue about the movies and the visual language he co-opts for many of the more stylized scenes.
Rated 30 Aug 2019
70
46th
Scorsese's dizzying camera and impressive editing with all its dissolves are commendable for a debut. The narrative is quite loose but it seems fitting for 1967. Wise guys, movie talk, and tough subjects -the bones are there.
Rated 09 Dec 2019
84
48th
Good early film from a master filmmaker.
Rated 04 Jan 2020
70
44th
Em honra dos 80 anos completados hoje pela grande Thelma Schoonmaker que vem editando os filmes do Scorsese desde seu primeiro longa, exceptuando os dos anos 70 por questões trabalhistas relativas a Hollywood. A primeira metade do filme é magnífica, especialmente coroada pela sequência ao som de The Doors, mas depois da "grande revelação" você fica com tanto ódio do Keitel que tudo mais fica indigesto. DVDRip no MakignOff.
Rated 29 Jan 2020
84
46th
Nowhere near the top tier of debut films (Eraserhead, Citizen Kane, etc.) but it raises a compelling question. If you were only willing to marry a virgin, could you marry a girl that was raped? It's not her fault, and it's completely unfair to her, but the question still stands. From a very different angle, it explores some of the same ideas about relationships as Annie Hall. The distinction made between girls and broads seems antiquated, but is still entirely relevant today
Rated 06 Dec 2020
63
47th
Some excellent camera work, engrossing realism, and a few great scenes encased within a meandering script that often revels in complete plotlessness. There isn't enough meat on these bones, but there are flashes of Scorsese's brilliance. The real star of the show is the editing which shows Thelma Schoonmaker coming out of the gate swinging with some of the inimitable cinematic duo's most experimental cutting room stylings.
Rated 13 Jul 2021
55
39th
Not quite a diamond in the rough, but worth checking out.
Rated 12 Nov 2023
70
42nd
This has it's share of shortcomings. Most of the actors that aren't Keitel range from okay to really not very good. Scorsese has a tendency towards arcane visual fussiness here that he will be pretty much cured of by the time "Mean Streets" rolls around. A really fascinating, if flawed debut.

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