A young man can't accept the girl he likes because of her bitter past.A young man can't accept the girl he likes because of her bitter past.A young man can't accept the girl he likes because of her bitter past.
- Awards
- 1 nomination
Anne Collette
- Girl in Dream
- (as Ann Collette)
Philip Carlson
- Boy in Copake
- (as Phil Carlson)
Marrissa Joffre
- Girl at Party
- (as Marrisa Joffrey)
Victor Magnotta
- Boy in Fight
- (as Vic Magnotta)
Thomas Aiello
- Minor Role
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
What Scorsese Film Ranks Highest on IMDb?
What Scorsese Film Ranks Highest on IMDb?
Cinema legend Martin Scorsese has directed some of the most acclaimed films of all time. See how IMDb users rank all of his feature films as director.
Storyline
Did you know
- TriviaIn order to get distribution for his film, Martin Scorsese was told to add nude scenes so it could be promoted as a "sexploitation" movie. He thus shot the fantasy scene showing J.R. imagining encounters with prostitutes.
- GoofsMartin Scorsese utilizes the black and white nature of film to hide the lack of time and day continuity in some scenes.
- Crazy creditsThere is a big "Thanks to the County and City of New York" in the end credits.
- Alternate versionsEarly versions of this film were screened without the erotic fantasy scene.
- ConnectionsFeatured in A Decade Under the Influence (2003)
- SoundtracksJenny Take a Ride
(uncredited)
Written by Bob Crewe, Enotris Johnson, and Little Richard
Performed by Mitch Ryder & The Detroit Wheels
Featured review
What it does do, it does very well
This is a hard movie to review because it's essentially an amalgam of several different shorter student films, and some work better than others.
That said, at the crux of "Who's That Knocking at My Door" (the final mass-released version) is a complex character-study laden with Catholic guilt and burdened by all the inherent stigmas and traditions of growing up Italian-American.
Obviously Scorsece knew his source material very well. More than half of the players and virtually all the locations come straight from his own life. What's really cool about the film, though, is how honestly he portrays these sociological nuances. He doesn't tell you Keitel's character's views and attitudes are good or bad, they just "are" --- and it's obvious how the character developed them from a peek into his everyday world.
This bracing honesty is the most appealing thing about the film, along with some drop-dead gorgeous camera work and editing featured here. The first scene where Keitel meets Bethune on the ferry has got to be one of the most imaginatively-shot and enthrallingly staged boy-meets-girl moments on celluloid. Throughout the film, Scorcese overlays soundless scenes from the past and future, creating interesting juxtapositions, always engaging and challenging your perceptions.
With a lot of debuts there are missteps. I don't think that fairly characterizes this movie however. There are definitely parts that drag and don't work well but seen in the context of a shorter film, they would have been more effective. As they're all blended together here, the pacing sometimes suffers.
It's hard to imagine any of the fans of Scorsece's later works, which rely so heavily on hyper-real camera-work and tightly-structured story lines, to have the patience for "Who's That Knocking." But for those who really enjoy the thoughtfulness, subversiveness, and subtext of Scorcese's films, it's a treat to see their origins so prominently displayed.
That said, at the crux of "Who's That Knocking at My Door" (the final mass-released version) is a complex character-study laden with Catholic guilt and burdened by all the inherent stigmas and traditions of growing up Italian-American.
Obviously Scorsece knew his source material very well. More than half of the players and virtually all the locations come straight from his own life. What's really cool about the film, though, is how honestly he portrays these sociological nuances. He doesn't tell you Keitel's character's views and attitudes are good or bad, they just "are" --- and it's obvious how the character developed them from a peek into his everyday world.
This bracing honesty is the most appealing thing about the film, along with some drop-dead gorgeous camera work and editing featured here. The first scene where Keitel meets Bethune on the ferry has got to be one of the most imaginatively-shot and enthrallingly staged boy-meets-girl moments on celluloid. Throughout the film, Scorcese overlays soundless scenes from the past and future, creating interesting juxtapositions, always engaging and challenging your perceptions.
With a lot of debuts there are missteps. I don't think that fairly characterizes this movie however. There are definitely parts that drag and don't work well but seen in the context of a shorter film, they would have been more effective. As they're all blended together here, the pacing sometimes suffers.
It's hard to imagine any of the fans of Scorsece's later works, which rely so heavily on hyper-real camera-work and tightly-structured story lines, to have the patience for "Who's That Knocking." But for those who really enjoy the thoughtfulness, subversiveness, and subtext of Scorcese's films, it's a treat to see their origins so prominently displayed.
Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Bring on the Dancing Girls
- Filming locations
- Amsterdam, Noord-Holland, Netherlands(as New York, only interior, scenes with nudity)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $75,000 (estimated)
- Gross worldwide
- $16,085
- Runtime1 hour 30 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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Top Gap
By what name was Who's That Knocking at My Door (1967) officially released in India in Hindi?
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