Now that I think about it, New York’s kind of lame.
New York is chock full of interesting little lives and stories that are just waiting to be heard and seen. One concerns a passionate, but confused painter (Nick Nolte), who is struggling to come up with new and interesting ideas, none of which are made any easier when his girlfriend (Rosanna Arquette), walks back into his life without promising to be everything that he needs. Another concerns Zoë (Heather McComb), a little schoolgirl who lives in a luxury hotel and constantly dreams about her father (Giancarlo Giannini) and mother (Talia Shire) getting back together, once and for all. And lastly, one concerns a New York lawyer named Sheldon Mills (Woody Allen), who thinks he’s finally met the love of his life (Mia Farrow), even if his overbearing mother (Mae Questel), doesn’t think so. This brings Sheldon to wishing that she’d just go away once and for all; his dream eventually does come true, except not in the way that he wanted, nor did he ever expect.
Paint it black, please.
The biggest issue with anthology films is that you always run the risk of one portion being way better than all of the rest. In the case of New York Stories, given the talent on-board, it’s honestly a shock that none of the segments are really all that good; there’s one that’s more tolerable than the rest, but honestly, it’s sort of like grasping at straws. And yes, just in case any of you were wondering, New York Stories is an anthology flick featuring three, 35-40 minute segments from Martin Scorsese, Francis Ford Coppola, and Woody Allen, respectively.
Let me repeat them all one more time.
Francis Ford Coppola.
And Woody Allen.
So, why the heck on Earth is this movie incredibly lame? Honestly, from what it looks like on the outside, all three directors had been wanting to do something together for quite some time, however, just never had the right time, or package to do so. Then, a hot-shot, studio exec thought of a grand idea, in having them all contribute to a three-part anthology flick, where people would all get drawn in by the fact that these three directing legends are somehow, slightly coming together on a project for the whole world to see.
Except that this was all happening in the late-80’s, and not the mid-to-late-70’s, when they were all at the top of their game. And also, rather than waiting for them to all have something worthy of filming and throwing into the movie, it appears that each director picked up whatever script they had lying on the ground, had an obligation, was forced to direct something, and just decided to roll with that. Sure, I’m speculating here, but after seeing the final product, I couldn’t imagine New York Stories coming together or being put-together in any other way.
Pictured: The future heir to the Ford Coppola legacy
For one, Scorsese’s bit is “meh”, at the very best. He gets a lot of mileage out of a neat soundtrack that seems to intentionally ram “A Winter Shade of Pale” down our throats, but honestly, there’s no meat to whatever story was supposed to take place here. Apparently, Nick Nolte and Rosanna Arquette’s characters are supposed to have some sort of sexy, fiery and ruthless relationship, but they don’t have any sex, and then Steve Buscemi shows up, and uh, yeah, I don’t know. Nick Nolte paints a lot and that’s about it. It’s boring, nonsensical, and most of all, uninteresting.
Words I never thought I’d describe something of Scorsese’s, but hey, such is the case.
Then again, Scorsese’s segment isn’t nearly as terrible as Coppola’s.
Yes, Coppola’s segment is notorious for possibly being the worst thing he’s ever directed in his life and, well, I can’t argue with that. It’s really bad, in the sense that it seems like Coppola had no clue of what to film, or actually do with the time and money given to him, so he just decided to make a movie for his kids. Sure, the character of Zoe is cute, but it’s placed in the middle of two, very adult segments that really, it serves no purpose or place in this movie altogether. Why anyone thought this was a good idea in the first place, is totally beyond me.
Heck, I don’t even think Coppola knows what to make of it still to this very day.
But thankfully, the smartest decision of New York Stories is to allow for Woody Allen’s segment to be the very last because, well, it’s the best. Once again, that’s not saying much, but it works because it’s quintessential Woody – light, breezy, simple, funny, and most of all, entertaining. The other two segments, despite appearing as if they were fun to film, don’t really come off as such; Woody, working with a really silly, almost cheeseball-ish plot-line, gets a lot of mileage out of looking like he’s enjoying his time filming this goofy story.
Does it save the movie?
Sort of. But if there was ever a reason to not feel optimistic of any anthology feature, regardless of talent involved, it’s New York Stories.
Consensus: Despite Woody Allen, Francis Ford Coppola, and Martin Scorsese each having something to do with the final product, New York Stories sort of begins on a whim, continues with a snore, and ends on a somewhat likable whimper.
5 / 10
Every Jewish man’s dream and/or nightmare, come true. It depends on who you talk to, really.
Photos Courtesy of: Jonathan Rosenbaum