The Panic in Needle Park 1971


Action / Drama

Rotten Tomatoes Critics - Rotten 78%
Rotten Tomatoes Audience - Spilled 75%
IMDb Rating 7.1


This movie is a stark portrayal of life among a group of heroin addicts who hang out in "Needle Park" in New York City. Played against this setting is a low-key love story between Bobby, a young addict and small-time hustler, and Helen, a homeless girl who finds in her relationship with Bobby the stability she craves. She becomes addicted too, and life goes downhill for them both as their addiction deepens, eventually leading to a series of betrayals. But, in spite of it all, the relationship between Bobby and Helen endures.

Uploaded By: FREEMAN
Downloaded 1107 times
2016-06-21 09:35:30


Al Pacino as Bobby
Raul Julia as Marco
Paul Sorvino as Samuels
Rutanya Alda as Admitting Nurse
720p.BLU 1080p.BLU
781.46 MB
24 fps
1h 50m
P/S 2 / 5
1.64 GB
24 fps
1h 50m
P/S 1 / 15

Movie Reviews

Reviewed by ElMaruecan82 9 / 10

A romance that will pierce your heart ... literally ...

Addiction is such an incomprehensible phenomenon to those who don't endure it, that making a film which portrays with such a gripping realism, not only the devastating effects but the reasons that push people to destroy themselves, is an accomplishment that deserves respect. "The Panic in Needle Park", from the director Jerry Schatzberg is not only one of the most significant films of the 'New Hollywood' era but a slice of New York's early 70's life with an undeniable documentary value.

The film follows the lives of heroin-addicted people in the intersection between Broadway and the 72nd, the only place outside Harlem, where you could get the drug : Sherman Square aka 'Needle Park' during a severe panic, which, in the business jargon, refers to a period where there's no supply. Schatzberg's direction is austere : no music, no innovation à la Martin Scorsese, only a camera following a bunch of young people in New York streets, confined claustrophobic houses, hospitals, sordid bedrooms but allowing us sometimes to breath in a green area. The camera works as the eye of the viewer and I challenge those who'd doubt the authenticity of the images not to cover their eyes during the close-ups, where you can witness a needle piercing a vein and injecting the stuff and all the immediate effects : rolling eyes, turning heads, licked lips, the horrific graphicness making you wonder why so much people fall in that spiral.

To answer this question, the movie needed to detach itself from its own tone, and provides a story; it did even better with a romance, and quite a poignant and realistic one. The characterization of Bobby and Helen is admirably handled by both Kitty Winn and Al Pacino, in his first starring role : you can see in very touching, yet subtle moments, the chemistry growing between them. Bobby is so cocky and fun, you know he overacts his own personality in order to seduce Helen, and he's so over the top, Helen can't resist. And whenever you doubt Helen's feelings, just look at her eyes, they tell everything and Al's eyes don't say less : in the most poignant and defining scene, Bobby plays baseball with a group of kids in the street, then turns a sudden look at Helen, and realizes she took it. A long and powerful silence follows and his reaction is a love gesture that definitely places these two characters in a warm place inside our hearts. Bobby understands Helen's act less as curiosity than a deliberate will to join his way of life, so both could be in the same wavelength. It's a tragic declaration of love, in the same vein than the booze-driven romance between Jack Lemmon and Lee Remick in "Days of Wine and Roses", another great film about addiction.

Of course, the romance takes a sordid course, leading us to the discover the junkies' underworld and get all its tricks. And you know the realism works when it mirrors some of your own experiences. The film reminded me of my current addiction to the water-pipe, or oriental pipe, and how the meticulous preparation provides a sort of pre-excitement before the consumption. I take time to clean the water jar, to insert the body, to use some Kleenex to fix the hose correctly. It may sound ridiculous but this is what addiction is about, habits, and rituals that elevate you to early steps of pleasure until the final and rewarding pay-off. And one day, I broke the bowl, I literally panicked and had to go at night to buy a new one because I needed it. Addiction's effects reveal to be more vicious when the stuff is missing, driving you crazy to an obsessive point, and there's nothing that can stop you once you have it hooked on mind. But as a neutral documentary, the film is not about judging, condemning or even curing the psychological spiral of addiction but simply understanding it. Understanding why people rat, why women become hookers, why some crimes are committed. Addiction inevitably leads to a destructive alienation, where even death doesn't scare. Every junky accepts this eventuality, and when one is having an overdose, there's a disturbing mix of humanity when the friends are trying to awake him and hostility when the house locater who doesn't want troubles.

Bobby, Helen and the others are all regular people, with families, babies, living in lively neighborhoods, but they're caught in a horrific spiral that undermines any attempt of regular romance and the relationship between Bobby and Helen survives to all the difficulties, because their relationships is not totally disinterested : Helen can get the heroin from Bobby, and if he's in jail, she can get it from his brother Hank, played by Richard Bright. And if Bobby needs money, he can get it from Helen's hooking. Talk about a sordid romance's basis, but the relationship is no less sincere and powerful in the way it makes us feel sorry for two pitiful and endearing characters. And the acting is crucial here, Kitty Winn, who won the Cannes Award for Best Actress, is heart-breaking in this role, as her eyes, looks, cries and laughs convey the mix of vulnerability of a girl who still wants to be legitimate, and the toughness of the drug-addict who finally knows the ropes. Al Pacino delivers one of his most brilliant performances as Bobby, the street-wise, goofy dealer, who completes Helen's introversion. Both actors are wonderful, and a honorable mention to Bright who illuminates his scenes, with a character so unlike the laconic Al Neri.

Yes, it's hard to believe both Pacino and Bright, would work together again in one of the greatest movies ever : "The Godfather", so if not for the beautiful romance and the extraordinary portrayal of New York's heroin-addiction, the movie launched one of the most successful movie careers and just for Al Pacino, I say : thank you, Mr. Schatzberg !

Reviewed by Mark Turner 7 / 10

A Downward Spiral

I've heard people talk about New York City as if it were the greatest place on Earth. Woody Allen has made films that portray the city as the most attractive location there is. And yet my memories of the city from various TV series and films never lends itself to a location I'd want to visit or spend time in. It was movies like this one that did little to endear the city to those who've never been there and probably did damage to the tourist trade there.

In his first lead role in a major motion picture Al Pacino stars as Bobby, a low level thief and junkie who lives day by day on the streets of New York. He meets Helen (Kitty Winn) through a mutual friend and artist named Marco (Raul Julia), Helen's now ex-boyfriend who's about to leave the country for a while. This leaves Helen homeless with no friends to turn to. Except that Bobby takes a liking to her and invites her to stay with him.

But Bobby is a full on junkie, stealing in order to get a fix, get high and tune out. His is a world of fellow junkies who bond together in one apartment or another until they can no longer pay the rent since the money goes towards feeding their addiction.

Eventually Helen wants to know what it's like and shoots up as well. At first upset by the situation Bobby eventually finds that it bonds the two of them closer together. Both promise to kick the habit but those days never come. Instead they live a life that takes them to the lowest of lows. Worse yet is that the city is dry at the moment with drugs shipments cut off after a number of arrests, thus the title of the film, a panic that drugs are nowhere to be found.

The movie follows the pair's lives as they continue to go lower and lower, occasionally trying to claw their way up but then failing miserably. The tragedy of their lives should have made this movie one to show teens who might consider drug use. It is a sad world they live in due to their addictions. And New York City has never looked as filthy or degraded as in this film.

The story itself is only slightly interesting as somber and dark as it is. What most will want to see this film for is to watch the young Pacino elevating what could have been a low budgeted film role into something more. It would be just a year later that he would break out in THE GODFATHER but hints of what was to come can be seen here.

Twilight Time presents the film as always in the best print possible. Extras are plentiful this time around and include an isolated score track featuring unused music composed and conducted by Ned Rorem, a featurette called PANIC IN THE STREETS OF NEW YORK, a featurette called WRITERS IN NEEDLE PARK, Notes on Ned Rorem's unused score and the original theatrical trailer. As always copies are limited to just 3,000 so pick one up if you're interested.

Reviewed by noahturks 5 / 10

A Vague Plot Held Together By Strong Lead Performances

The dire content of 'The Panic...' is groundbreaking. Al Pacino is great as a street urchin in this early role, a precursor to his 'Dog Day Afternoon' performance. In this one, he's just as passionate and intuitive, but the script hinders the effect. Kitty Winn has an old-time-y feel, like she was meant to stay in the 70's, and film-wise, she kind of did as this and 'The Exorcist' are her most famous roles. She was solid here though. Instead of a clear plot, this movie's more impressionistic with it's storytelling, revealing more brushstrokes as it moves along, and I can appreciate that.

The weak links were the dialogue, which was lame at times, like with Pacino's movie brother's line about, "He Ain't Heavy, He's My Brother" being particularly offensive on the lame-o-meter. Then some of the addicts spouted a few too many buzzwords, though the way they only had drugs, sex, or crime on their minds did ring true in my experience.

The actor who played Hotch was expressionless the entire film. He was a pile of tapioca pudding warbling around, and he brought the energy down with him whenever he came on-screen. I understand that acting, especially in grittier, 'street-life' films, is meant to be naturalistic, but he was boring, which I can understand as I've fallen into that trap too: "Am I being too theatrical and demonstrative?" No, you're really not, Hotch.

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