New York, New York (1977)
Average Rating: 6.2/10
Reviews Counted: 30
Fresh: 20 | Rotten: 10
No consensus yet.
Average Rating: 5.2/10
Critic Reviews: 6
Fresh: 3 | Rotten: 3
No consensus yet.
Average Rating: 3.4/5
User Ratings: 9,516
Martin Scorsese combined the splashy atmosphere of the old studio musical with an unromanticized marriage story in his valentine to Hollywood and the Big Band era. On V-J Day 1945, newly minted civilian saxophonist Jimmy Doyle (Robert De Niro) meets USO singer Francine Evans (Liza Minnelli) at a dance, but she rebuffs every advance that he makes. A day and a hotel lobby meeting later, Jimmy finally wins Francine over after she uses her pop instincts to save his too-jazzy audition at a nightclub.
Jun 22, 1977 Wide
Feb 8, 2005
MGM Home Entertainment
Robert De Niro
Mary Kay Place
Harlem club singer
Wife of Justice of t...
Announcer in Moonlit...
Musician in Frankie ...
Doyle's Girl in Majo...
Greeter in Up Club
Justice of the Peace
Mary Lindsay Chapman
Hat Check Girl in Me...
Well-wisher in Moonl...
Palm Club Owner
Bouncer in Major Cho...
Woman in Black in Mo...
Adam David Winkler
Jimmy Doyle Jr.
Man in Bathroom in H...
South Bend Ballroom ...
Horace Morris' Assis...
Eddie di Muzio
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If this movie were a big-band arrangement, it would be a duet for a sax man and a girl singer, but with the soloists in a different key from the band.
In a final burst from Old Hollywood, Minnelli tears into the title song and it's a wowser.
Scorsese's tribute/parody/critique of the MGM musical is a razor-sharp dissection of the conventions of both meeting-cute romances and rags-to-riches biopics.
Why should a man of Mr. Scorsese's talent be giving us what amounts to no more than a film buff's essay on a pop-film form that was never, at any point in film history, of the first freshness?
Martin Scorsese's New York, New York never pulls itself together into a coherent whole, but if we forgive the movie its confusions we're left with a good time.
Martin Scorsese created a very handsome and dynamic film, but the spectacular set pieces don't add up to much.
Though affectionate and colorfully stylized, Scorsese's tribute to the darker classic Hollywood musicals is only partially successful.
Ultimately a very personal film about how Scorsese views a genre of film and, as such, has a much more coherent vision than its reputation would suggest. [Blu-ray]
A stagebound valentine, but one vigorously constructed down to the last detail, with Scorsese reveling in the costumes and music. It's an itch that spreads into a full-body rash in the final act.
A downbeat homage to bright-lights showbiz dramas, an epic orchestration that indulges in stubbornly obsessive riffs, Martin Scorsese's New York, New York (1977) seems to value awkwardness and indecision above all else.
Embora interessante, a direção de arte acaba se tornando uma distração e os números musicais são, em sua maioria, frouxos. Por outro lado, De Niro e Minnelli criam personagens complexos que despertam a curiosidade do espectador. Um Scorsese menor.
It's the exact kind of craziness that could only have been made in the waning days of the 1970s.
There are some things about it that rub me the right way: it has style, fire in its belly, great visuals and was ahead of its time.
New York, New York never fully comes together as a cohesive picture. Rather, it's a film with many parts that don't gel, much like its fabricated lead characters.
Martin Scorsese's criminally neglected tribute to the heyday of the MGM musical has aged astonishingly well.
From a story perspective, nothing happens in the film's 'last act,' but from an emotional perspective, everything happens. Minnelli's performance leaves its peak and soars.
Scorsese's take on classic musicals is just as odd and arresting as you'd think.
Martin Scorsese attempts to pay tribute to his musical forefathers, specifically Vincente Minnelli, with this colorful, misguided epic.
Audience Reviews for New York, New York
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