New York, New York (1977)
Liza Minnelli, Robert De Niro; d. Martin Scorsese; Martin Scorsese

Taxi Driver, GoodFellas, Cape Fear, and Casino are some of the movies that come instantly to mind when one thinks of the legendary collaboration between Martin Scorsese and Robert De Niro... And all of them are brutal, violent studies on either gangsters or creepy psychos. Even The King Of Comedy, which is neither voilent nor brutal, still has some of the disturbing qualities of the other films. The only true oddball of the bunch is New York, New York, a sometimes quirky, sometimes dark, semi-musical staring none other than Liza Minnelli.

New York, New York is the story of jazz saxophonist Jimmy Doyle (De Niro), and singer Francie Evens (Minnelli). The two meet at a party in New York City during V-J Day, and romance blossoms from there. Of course, the union isn't smooth at first, as the refined Francie is taken aback from the uncouth, direct Jimmy who suffers from the disease of insisting. Their differences are even shown in their music. Jimmy prefers the raw, spontenous form of jazz while Francie prefers the structured, classy side of jazz. But nethertheless these musical talents collide first when Francie steps in as singer during an almost disasterous audition for Jimmy in Brookyln. Then, the two team up again when Jimmy joins the touring jazz band that Francie sings for. Of course, joining the band isn't easy. After being hired to the restaurant as a boy and girl act, Jimmy is surprised to learn that not only is Francie unable to be at their first performance but she's in a different state, on tour with another jazz band! Her agent, who gives him the letter that states why she is not there, tells him where they are, begening a trek down south to meet up with Francie and to get himself another job. He's hired on the spot and is allowed to tour and perform with the band, but he proves to be a "pain in the ass" with the group and the band leader. Jimmy loves to do things his way, and he loves to do it whenever he feels like it. Any other way is unexceptable. But is common defender is Francie, with whom a passionate romance has commenced. When he reads lyrics to a song that Francie has written about him, he rushes her to a chapel and demands (sweetly) that they get married. Along with marriage comes a better job, that comes not too long after their private ceremony. The leader of the band decides to retire and assigns Jimmy as the new conductor. Of course, he does things his way, but his way is not what the restaurants that typically hire the band want. Also, the fact that he's the new leader gets to his head, and Jimmy because an all-around unpleasant, egotistical man. To make matters worse, and better, Francie becomes pregnant and decides to stop touring and move back to New York City. Her replacement is a thin-voiced and shaped singer who can't match the charisma of Francie nor the vocal power. Things get so bad that Jimmy, too, decides to go back to New York City. He's greeted enthusiastically by Francie, but is not too enthused with the fact that she's on the brink of a solo singing career. They start to drift apart as Jimmy, too, persues a solo career as he joins a group of black friends/jazz musicians in a Harlem nightclub that play just the type of jazz he prefers. And somewhere through this turmoil the two manage to write a song together about New York City (guess what it's called?).

While the thought of a musical staring Liza Minnelli and Robert De Niro, directed by Martin Scorsese, may seem like a terrifying and leathal combination of to obviously contrasting worlds, the execution of such a combination surprisingly comes out to be a well-made film. While it is rather uneven (it goes from being a light, artificial comedy to an almost dark drama), as a whole the film is very good. It does set itself apart from other Scorsese films, in fact the only way you could possibly tell it was directed by him is the overbearing use of the color red in the film (I think this is the red climax of all Scorsese pictures, as it even includes an entire set covered in red lights). There are is no fancy camerawork in the film, but no doubt will your eyes be dazzled by the stunning use of color in the film. Also dazzling are the performances from De Niro and Minnelli (not surprising since she had already given a brilliant performance in Cabaret), and the musical selection. The film is not flawless, though. Many scenes drag on and the supporting cast blends into the background. There are also too many scenes where it is obvious that they are improvising. But otherwise, New York, New York is a surprisingly good picture that I would reccomend. Not the best of anybody involved nor is it the best musical I've ever seen, but definatley worth giving a try.

© Vert A Go Go Reviews 2001