There is something to be said for Martin Scorsese's "New York/New York" (1977). I'm just not exactly sure what. A strange mix of seventies sensibilities and sexual mores, eclectic acting styles a la its two mismatched leads, and forties kitsch billed as tributary to the decade of returning war heroes and the big band sound, the film abounds with complications that make for a generally uneasy, often heavy narrative structure.
Truthfully, the film neither emulates or celebrates the great musicals of the 1940s. Instead it somehow manages to impose a contemporary strain on vintage material, which from the vantage of 30 years removed today, seems ludicrous and tacky.
Robert DeNiro stars as Jimmy Doyle, a gregarious sax player who's all thumbs when it comes to impressing WAC officer, Francine Evans (Liza Minnelli). But, as many of the male machismo flicks of the seventies teach us, if at first you don't succeed with the fairer sex, simply badger her into submission. This tactic works for Jimmy, but only superficially and temporarily as the film charts Jimmy's rise to big band leader status, his explosive romance with Francine, their trials and tribulations, his spiral into professional oblivion and their ultimate break up and loose reconciliation after Francine has made it big on her own.
Clearly uneasy with the musical as a genre, Scorsese lets the first twenty minutes of his film slip by without any music, and then junkets a string of stagy numbers that are not memorable or apt at recapturing the effervescence of the 40s. The one big production number, "Happy Endings" comes much too late to make a difference in the film's musical repository and draws a direct and scathing comparison between Liza and her mother, Judy Garland's performance from "A Star Is Born" (1954). "Happy Endings" is a sort of "Born in A Trunk" ballet that unfolds with Liza encountering a Broadway producer while working as an usherette in a movie house. But the juxtaposition of several musical snippets is clumsily staged.
The mileau of bits comes to a head with Liza flouncing down a great glittering and mirror staircase in a costume that can only be described as over the top in its gaudy red and white texture.The most outstanding aspect of the musical program is undoubtedly the title number, sung against a backdrop that again, looks much too contemporary for 40s chic.
Again, about the leads; the banter and chemistry between DeNiro and Minnelli is, at times, quite good - but never more engaging or hilarious than during their initial meet in a posh New York nightclub. Hence, their burgeoning romance seems oddly off balance with the two growing less comfortable with one another on camera as the fictional relationship progresses. At times, Minnelli looks ill and withdrawn, her heavy make up and "Mildred Pierce" style hair pieces almost swallowing her face whole and often masking her ability to do comedy or drama as well as we all know she is capable of. As a direct result, only in her vocal abilities throughout the film does she truly excel; that rich Garland-esquire bravado rocking the speakers with a powerful zest for the material she's been given.Ultimately the film did not find favor at the box office and, in hindsight, it seems little wonder.
MGM's DVD is not anamorphically enhanced but it is widescreen. Colors are rich, vibrant and, at times, gaudy. Blacks are deep, rich and solid. Whites are generally clean, although there are instances throughout the film where a definite grain structure is noticeable. Overall, the highly stylized visual characteristics of this musical stinker will not disappoint. The audio is 5.1 surround and engaging throughout - showing remarkable clarity for a film of this vintage everywhere, but especially during the musical sequences, if only the original songs by John Kander and Fred Ebb had had something more to offer. Extras include an intro by Scorsese as well as audio commentary that is not particularly engaging. There's also some deleted scenes that are pretty much a bust, but generally show a muted distemper on DeNiro's part for a film in which he clearly felt most out of his element. A theatrical trailer and photo gallery are also present for the asking.
Truthfully, the film neither emulates or celebrates the great musicals of the 1940s. Instead it somehow manages to impose a contemporary strain on vintage material, which from the vantage of 30 years removed today, seems ludicrous and tacky.
Robert DeNiro stars as Jimmy Doyle, a gregarious sax player who's all thumbs when it comes to impressing WAC officer, Francine Evans (Liza Minnelli). But, as many of the male machismo flicks of the seventies teach us, if at first you don't succeed with the fairer sex, simply badger her into submission. This tactic works for Jimmy, but only superficially and temporarily as the film charts Jimmy's rise to big band leader status, his explosive romance with Francine, their trials and tribulations, his spiral into professional oblivion and their ultimate break up and loose reconciliation after Francine has made it big on her own.
Clearly uneasy with the musical as a genre, Scorsese lets the first twenty minutes of his film slip by without any music, and then junkets a string of stagy numbers that are not memorable or apt at recapturing the effervescence of the 40s. The one big production number, "Happy Endings" comes much too late to make a difference in the film's musical repository and draws a direct and scathing comparison between Liza and her mother, Judy Garland's performance from "A Star Is Born" (1954). "Happy Endings" is a sort of "Born in A Trunk" ballet that unfolds with Liza encountering a Broadway producer while working as an usherette in a movie house. But the juxtaposition of several musical snippets is clumsily staged.
The mileau of bits comes to a head with Liza flouncing down a great glittering and mirror staircase in a costume that can only be described as over the top in its gaudy red and white texture.The most outstanding aspect of the musical program is undoubtedly the title number, sung against a backdrop that again, looks much too contemporary for 40s chic.
Again, about the leads; the banter and chemistry between DeNiro and Minnelli is, at times, quite good - but never more engaging or hilarious than during their initial meet in a posh New York nightclub. Hence, their burgeoning romance seems oddly off balance with the two growing less comfortable with one another on camera as the fictional relationship progresses. At times, Minnelli looks ill and withdrawn, her heavy make up and "Mildred Pierce" style hair pieces almost swallowing her face whole and often masking her ability to do comedy or drama as well as we all know she is capable of. As a direct result, only in her vocal abilities throughout the film does she truly excel; that rich Garland-esquire bravado rocking the speakers with a powerful zest for the material she's been given.Ultimately the film did not find favor at the box office and, in hindsight, it seems little wonder.
MGM's DVD is not anamorphically enhanced but it is widescreen. Colors are rich, vibrant and, at times, gaudy. Blacks are deep, rich and solid. Whites are generally clean, although there are instances throughout the film where a definite grain structure is noticeable. Overall, the highly stylized visual characteristics of this musical stinker will not disappoint. The audio is 5.1 surround and engaging throughout - showing remarkable clarity for a film of this vintage everywhere, but especially during the musical sequences, if only the original songs by John Kander and Fred Ebb had had something more to offer. Extras include an intro by Scorsese as well as audio commentary that is not particularly engaging. There's also some deleted scenes that are pretty much a bust, but generally show a muted distemper on DeNiro's part for a film in which he clearly felt most out of his element. A theatrical trailer and photo gallery are also present for the asking.