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C 1977 I.-. S. ftlM/ Hr rawing ( » W» V43DI
Two views of ‘New York, New York’
Scorsese takes a bite out of the Big Apple An isolated light shining brightly
* * Cnnrcoco has
By BEN FUGITT
New York. New York's
about the lack of thought
that went into the whole
enterprise New York. New
Robert DeNiro illogically gets a saxaphone...
famous and ever popular
Bernstein -Comden -Green
song from "On the Town,”
but to another number, a
painfully unoriginal and
forgettable one. penned
especially for this movie.
Worse yet. we see very
little of New York. Much of
the film takes place on the
itidu waii a touring oand.
Inexplicably the scenes in
New York take place
largely within hotel rooms;
bars and night clubs;
scenes which may as well
have taken place anywhere
in the contiguous 48 states.
Robert DeNiro, an incre
dibly talented actor, is the
leading man in New York.
New York, despite the fact
he neither sings nor dances.
Scorsese solves the problem
illogically by giving DeNiro
a saxophone.
Liza Minnelli is probably
the only one involved in this
film who really belongs. She
sings, you see.
The writing doesn’t help.
DeNiro is actually saddled
with lines like, "I mean. I
didn't say 1 love you I like
you I dig you.”
The plot is terribly
moth-eaten and hackneyed.
It’s the old story of two
showbiz people who can’t
live without each other, yet
can't seem to live with each
other, either. But the
writers toss a monkey-
wrench into the works when
they smash all attempts by
the audience to identify with
the main characters by
having them ruin their
marriage to save their
careers. Not a terribly
romantic idea.
Where is the fun in all
Remember the old Fred
Astaire-Ginger Rogers mo
vies'* Could you see Fred
leaving Ginger because
she’s pregnant?
There are some positive
points to be found in N.Y.,
N.Y., however. DeNiro’s
performance sparkles with
the usual lustre. Hand this
actor s actor the dictionary
and he’ll try to cope with it,
try to fuse it with something
exciting, or human, or at
least interesting. He’s just
too talented to make a
totally bad film.
The same can be said to a
smaller degree of Scorsese.
In one scene, an overhead
shot, we know DeNiro is
down there somewhere a-
mongst the partying crowd,
but we don’t see him. The
camera pulls back to reveal
part of a neon sign in the
foreground. A neon arrow
flashes on it—and it points
DeNiro out. A brilliant
device. Scorsese hasn't lost
his touch, he’s only mis-
placed it.
By BILLY HAWKINS
The American cinema is
suffering through one of its
worst seasons ever. Films
of integrity and conviction
are few and far between
Despite the pervasive dark
ness, the American film still
shines hriohtlv in icoin«<<
pockets. Martin Scorsese’s
new film, New York, New
York is so human, vital and
caring that only a few
American films of the year
can equal it.
The mood of the film is
established from the open
ing shots of a New York
celebration on V-J Day.
Scorsese’s camera quietly
records the wonderfully
detailed street celebration
and the Tommy Dorsey
show where Jimmy (Robert
DeNiro) and Francine (Liza
Minnelli) first meet.
DeNiro’s manic energy is
released here against the
more introverted character
of Minnelli, and these
opening scenes set the tone
of the Jimmy-Francine re
lationship. Both stars give
excellent performances,
pulling off any awkward
moments with genuine pas
sion.
Scorsese almost lets the
pacing of N.Y., N.Y. get out
of hand, but its ties to the
frantic music of the 40’s is,
ultimately, what makes the
film great. Communication
through the wail of a
saxophone or Liza’s voice
are the most simple and
honest acts of expression in
N Y.. N Y
Scorsese uses music bet
ter than any director since
John Ford. The beauty ?.. d
ptv.vcr ?f KUinpiiigf «i<tiiv
Flash’’ and the force of "All
the Way from Memphis”
in Mean Streets and Alice
Doesn't Live Here Any
More, respectively, leaves
one breathless. Scorsese has
a knack for weaving rock
and roll into the texture of a
film, but he succeeds in
N.Y., N.Y.’s big band sound
as well
To define the world of
Jimmy and Francine in
N.Y., N.Y., Scorsese and
cinematographer Laslo Ko-
vacs have made a visually
beautiful film. The scenes of
the dance at the subway.
DeNiro playing a lonely
saxophone under a street-
lamp, and the wedding are
all carefully constructed
and photographed. Scorsese
uses stylized sets as a nod
to MGM and Vincente
Minnelli films in particular.
Scorsese’s well-inten
tioned and good-humored
love song to the Big Apple is
a tribute to the resilience
and beauty of human
character. Big band music.
the process, is given a
rousing rendition with an
eye cocked toward the
dvnamics of rock and roll
Scorsese has framed a
simplistic equation music
is live- alongside dynamic
actors and actresses and a
...and Liza Minnelli inevitably gets DeNiro
THE DEAN OF BEER
SUGGESTS ALL STUDENTS IMPROVE THEIR
READING. WRITING. AND PUNTING.
Fellow Beer Persons, life is full of problems.
Fortunately. as your Dean of Beer, I am full of
answers. For example, many problems can be
avoided with good reading skills. Such as
"Danger. Wild Boar Ahead!'
Many others can be avoided through good
writing skills. Such as "Dear Mom. Send Cash!’
However, some problems require more.
Some problems require special attention.
Such as “Good evening, Officer. What can
1 do for you?”
That is why. in addition to the fine arts
of reading and writing. I recommend you
master the fine art of punting. Preferably
with either foot. That is also why I am
offering $5.00 off the suggested retail
price of an official, intercollegiate-
quality IDihon football, with the
Schlitz emblem. So you can
practice. (Besides, no one would
be interested if I offered $5.00
k off on lip balm.) Class
dismissed.
Tk
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