Hide Article Text (OCR)
Tempo Movies—TVRobert Da Niro Bnd Liza Minnelli in a sceno from Nov/ York, New York.'New York, New York'swings between old, newBy Gene SiskelMovo cniicTRIBUNE MINI-REVIEWIF YOU THINK for n moment nboutthe costing of ‘•Now York. Now York. Its purpose becomes Immediately clear. What young nctor better represent tho new. tough American movie than Robert Dc Niro, the star ofSomething borrowed, som* thing new NEW YOHK. NEW YORKn*** i«4 IHMK ttftIM•mi B. Lit Hit,OffLa ilia» «. by UMllUffi. Mae.u Ucat, Tom Bail.f-at mwal* by and NmIsuch aggressive films as Mean Streets, Godfather II. and Taxi Drivcr7Di: US M BtM* *ttaw WWMW tal toi* bum* * UwfaW OrtHM ■»•What young actress tetter represents traditional Hollywood than Lira Minnelli,literally the daughter cl traditional Hollywood?It is that mix of old nnd new — old and new styles of filmmaking, old and new styles of film romance — to which New York. New York is dedicated.That mean* if you're expecting New York, New York1’ lo be (lie musical equivalent of n carefree Rocky or Star Wars, forget it. This Is a picture nbout failure and triumph, a 1dm that scorns happy endings.There ts a scene that refers directly lo happy endings. Says Minnelli to De Niro about a fictional '60s musical titled Happy Endings: They’re a dimen dorcn. aren’t they? Her remark refers to both old-fashioned movies and to Imp* ..... McChra Coin and auHftf? mudrt c*irjvi*-r Btowi o» mmImmiaa u*mp»,mBewke Frank* IU|1«** kffv-i Club lt;nr+r Hoi ■£• M«t»ld Am ***•Crt\ *»w«Ur ntnfitnr CMl » t AC* Ol Msdtopiny rtlmw W»nr «*y rn * •*%*!«Irx9Ok^S*CI H.-nh M64UkO Utvtj Oi-'ia QlffftM C n»y* •*ihl tftftwuaiMnKendings. She is sneaking with Irony ut how difficult it hoi been for hernnd De Niro to achieve a happy ending (o their relationship within this picture.She also is commenting on the dlme-a-dozen” quality of 'SOi Hollywood musicals. But she softens her statement by phrasing It as n question. That's because the man who made New York. New York obviously has on ambivalent attitude toward traditional Hollywood musicals.after a hell of a battle. That will be tho signature cf tbeir relationship.IT IS AN uneasy relationship.’ Mlr.nel* JT« character appears to be content to work in De Niro's shadow as long as his work is substantial enough to cast a shadow. But when De Niro loses Interest in his band — be wants to ploy jazz but white audiences want swing music — Minnelli takes off on her own.The problems between them are vague, and not all of that vagueness is intention-al. New York, New York Is 2'/i hourslong. Tho center section, which deals i!hNEW YORK. New York Is hill of acenes that nrc paeans to the MGMgrand musicals of Vlnccnto Minnelli. But New York, New York olso is n revisionist musical in that it tries to bo moi o real, more emotionally current.while using the some splendid sets, colors, and sweeping camera movements.os musicals of the '■Ms ond 'S»iThe picture opens with V-J Day being celebrated in Times Square. Robert De Niro wanders lt;2d Street wearing a garish outfit, looking for women. He is a sax* opbonLst for sure: whether he’s a war veteran is in doubt. The scene shllts lo a Now York nightclub w here the Tommy Dorsey band is playing. De Niro attempts to pick up Mtnncill, a band singer who ha» been workJng as a USO volunteer.Even in this Introductory scene we can ■ee (lie film's mixture of old and new. What's old ts the setting — a spectacular nightclub. And, as in the musicals o( old, a crane-mounted camera sweeps in arxl out cf musicians and dancers, creating a delightful dance” between Uk audience and the film.What’s now is the way De Niro nnd Minnelli argue. The scene runs on much longer than it would in an old Hollywood film. De Niro hits Minnelli with the samowith Dc Nlro'a nnd Minnelli's marriage, has been roughly edited. For a long time we're not sure if Do Niro really love* her. Also unexplained Is why he doesn't simply throw himself into the black music market.But what kept me involved throughout the confusion was De Niro's performance. Simply put. he is the most compelling actor in American film. Ho has the strength to appear to be doing nothing. His best scene occurs In a Hnr-k*m nightclub as he silently places a phone call.He is tethered to a wall by the phone cord. The camera hangs on him as lie considers Minnelli and a btock singer in the club (played by his real-life wife, Dmhnno Abbott) nnd chooses neither.Minnelli is a better singer than actress. In fact, eho acts better in her singing scenes, or even when 6hc is simply near a bandstand. Her closing production is n superior piece of entertainmentBut the force (hat sells that number, as much as Minnelli, is filmmaker Martin Scorseso. He is « master of camera movement. One way to get extra enjoyment out of New York. Now York” is to think about whot the camera Is doing to give you the shots you're seeing. Take a look at the way Scorsese's fluid camera adds to the long jazz number lotiio Harlem nightclub, igh nmodern artillery he used on C bill Shepherd In Taxi Driver. But MlnneM Isequal to it. Tbeir lives are Joined onlyThough rough in the middle, New York, New York features a smashing conclusion. I’m not talking about Minnelli's final number. What's smashing b tho ending to the De Nire-MinneUi romance. It has just the right mixture of old and new.
Newspaper Details
, ,
Mon, Jan 01, 0001
Page 15
Full Page
Clipped by
Rotten T.
USA 18 Jun 2020
Other Publications Near ,
News Journal
Suburbanite Economist
Southend Reporter
Community Publications
Southtown Economist
