This early film, issued under many titles and at varying lengths, is best seen as WHO'S THAT KNOCKING AT MY DOOR, full length, where its profundity and richness comes out in its entirety. Harvey Keitel and Zina Bethune are both outstanding, Keitel over-stated and Bethune under- stated to the perfect degree. The film-making is astonishingly avant garde despite this film working as a mainstream movie, with its magnificent and shocking, but successful, camera angles, its bold editing, and all the rage and pain of youth going to create a raw classic. It is often almost too painful to watch. Maybe Scorsese is a masochist, but he conveys the sadness of immaturity which he must have experienced himself in a searing indictment of the unthinking callousness of youth. Zina Bethune delivered one of the most sensitive performances of the 1960s in this film. The blood flows from this study of being young just as it does from the Saviour's wounds shown with such savage sarcasm in the montage of the Catholic iconography at the end. This must be the most personal of Scorsese's films, and the one he dreams of at night. Often it is the raw youthful testaments, like this, which tell us most about a great artist like Scorsese. To paraphrase a certain politician: 'He may grow up, but he can't hide.'