Another Scorsese film that tends to get undeservedly short shrift these days, his dreamily off-kilter New York comedy has aged surprisingly well – but even if you don’t agree, it merits a special place in his filmography as the starting point of a long, fruitful on-off collaboration with German cinematographer Michael Ballhaus, previously a Fassbinder cohort. Through to “The Departed,” Ballhaus has brought crisp visual energy to numerous Scorsese films, but he might never have shone more individually than he does here, blanketing the oddball events in a velvety moonlit glow that tangibly evokes the thrill of the witching hour.