New York, New York Reviews
Maddening, disastrous musical with Robert De Niro and Liza Minnelli falling in love and then exceeding in the music business. Extremely long, incoherent, unpleasant mess. Only good production values and some amusing bits with De Niro save this otherwise hopeless and never ending film from a lower rating.
If you worship Martin Scorsese, then maybe you think this movie is a masterpiece, or whatever.
But, if you are anyone else, you are likely going to find two-and-a-half hours of Robert De Niro and Liza Minnelli endlessly yelling at each other VERY hard to take! They pretty much just argue constantly. And, De Niro seems like he's playing a character so unlikable, it's like he's warming up for "Raging Bull." He treats Minnelli like garbage, and you just want to take a baseball bat to him pretty much throughout the whole film.
The Kander and Ebb songs are great. And, some of the music staging works very well. But, that's pretty much it. One conceit is that Scorsese seems to be wanting to recreate that shot-on-a-backlot feeling. But, for someone from New York City, it definitely seems odd that Scorsese is shooting this movie pretty much anywhere BUT New York City!
I think this is the movie where Scorsese said he was hopped up on drugs the whole time. Not much of an excuse, considering he was spending other people's money.
The only good thing to come from this movie is that the song "New York, New York Theme" which was soon after recorded by Frank Sinatra.
C'EST BEN CON , JE L'AI DĂJĂ VU , JE VEUX PAS LE VOIR PIS CHU OBLIGĂ DE METTRE UNE FUCKING 1/2 â~ !!!
CE FILM PLATE LA VAUT MĂME PAS ...
New York, New York moves at a consistently slow pace which proves to be one of the central causes of its negativity. It is clear that Martin Scorsese had a lot of ambition making the film because in all honesty it does have a lot of visual appeal, but it fails to overshadow the thin nature of its story and the slow pacing. New York, New York does not have an innovative or original story, it is simply a basic love story in the setting of the titular state of America about two people who are involved in the music scene. But surprisingly enough, the story is essentially bereft of any surprises and it really drags itself on for as long as it can. This is a problem because the story runs for a full 163 minutes and does it really slowly. Maybe I could have appreciated the film more if it ran for a lot less running time, for arguments sake lets say about 100 minutes, but since this isn't the case we are simply left with a slow and long romantic drama film which is good in parts but as a whole does not have the effect that it truly wants to.
Martin Scorsese has acknowledged that this film is largely an experiment, and it is one that was successful in certain ways while not so much in others. And while I admire him for going out on a wire and attempting something new with his style of filmmaking, Earl Mac Rauch was unable to do the same thing with the story. New York, New York has a very dull premise and while it has some good dramatic moments and the characters are good, it is not nearly enough to overshadow just how thin the concept of the story is and the fact that it cannot transcend the limitations of a basic romantic drama. Really, New York, New York feels a lot like a watered down version of Cabaret since the story is another romantic drama in the musical scene starring Academy Award winner Liza Minelli, but it lacks enough entertaining events and dynamics to justify its pace and length. But it does have a few positive elements of its own.
New York, New York is good because of director Martin Scorsese. During the 1970's his career kicked off, and it was largely due to his lack of fear in making gritty films such as Mean Streets and the controversial masterpiece Taxi Driver. In New York, New York, he refuses to make his project a generic musical film and decides to go out and handle the material honestly as if it was a true story. Even though he handles it as slowly as things move in the real world, he gives the material an edgy and effective treatment which makes it appropriately gritty as well as passionate. So although the story in New York, New York isn't that great, Martin Scorsese does what he can to it to make it work and has some success.
Visually, New York, New York is terrific. It is mostly filmed at night and on location in New York City, capturing the focus on the kind of night life offered. And in the process it reveals Martin Scorsese's eye for great imagery by capitalising on a lot of terrific art direction and scenery which is lit up nicely and filmed with cinematography which captures the grand spectacle of things and proves to be atmospheric. New York, New York is visually terrific and even though its scenery is limited it is constantly given terrific art direction and allows for a lot of life to naturally brew up.
And while the story in New York, New York is weak, there is a lot of strong dialogue which means that the actors naturally let all of their talent out with ease.
Liza Minelli is the clear standout in New York, New York. Despite playing up against Robert De Niro in a Martin Scorsese movie, the screen is always stolen by Liza Minelli because of her youthful charm and her natural beauty. Liza Minelli has a really pretty face which lights up the screen, and she also creates a very likable persona for her character Francine Evans making her a sympathetic figure. And when she sings, she puts in all the passion she has in her heart which is impressive. Liza Minelli's dedication to the character Francine Evans proves to be no challenge for her because she clearly enjoys the dramatic material and loves the chance to prove herself as an actress. Liza Minelli is wonderful in New York, New York, and she makes it memorable as a medium for her Academy Award winning acting talents.
Robert De Niro also gives a strong effort in New York, New York. Although it is not the finest of his collaborations with director Martin Scorsese, Robert De Niro gives a performance in the role of Jimmy Doyle which feels almost like it is actually him that he is playing. His leading performance constantly has a sense of uncertainty to his characterisation of Jimmy Doyle, and he characterises him almost as a noir-like figure with a passion for the saxophone. Robert De Niro makes New York, New York a front for not just his natural charisma as an actor but also his talent for music, and he has no trouble whatsoever with succeeding in the role. His chemistry with Liza Minelli is also very interesting because of how there is no real way to tell what is going to come of it.
But despite some talented acting and Martin Scorsese's keen eye for powerful imagery, New York, New York has a story which is too unoriginal for its own good as well as a tedious length and pacing which is far too slow for it to be actually consistently entertaining.