New York, New York: Old Hollywood Charm Washed in Reality
Directed by Martin Scorsese
“Do I look like a gentleman to you in this shirt and these pants?”
Jimmy Doyle
Martin Scorsese’s production of New York, New York is the definition of artistic incongruity. Operating mostly out of shock value, the vibrant colored, musical spectacle is juxtaposed with predatory and abusive behavior. With an opening celebration for Victory over Japan or considerably V-J Day, a lively party is underway in a New York city nightclub. Saxophonist and self-proclaimed ladies’ man, Jimmy Doyle, scours the floor to find a date for the night. Much to her chagrin, he sets his sights on Francine Evans, a singer for the United States Organization (USO). Doyle pesters her relentlessly for a chance to be with her, and this singular interaction sets the tone for the remainder of the film. They somehow find themselves together and traveling as a boy-girl duo as Francine sings, and Jimmy plays the sax. Sprinkle in some concerning relationship problems and now we have an entry-level horror film.
Robert de Niro seems to have a knack for unhinged, psychotic characters as he portrays Jimmy as such. Never taking no for an answer, most of Francine’s acquiesces to him are a result of weariness. Though Liza Minnelli has fault as Francine’s appeal for him made little sense as he never seemed to possess any lovable qualities. He was an egotistical, selfish jerk who often revealed his intentions the moment he opened his mouth. Liza Minnelli as Francine was a vision of her mother, Judy Garland, in those Metro-Goldwyn-Mayer musicals that dominated the 40s and 50s. During viewing, both Summer Stock and an American in Paris came to mind. Scorsese’s attempt to recreate the charm of that era in cinema and pair it with the harsh reality of abuse calls for an interesting premise. Their relationship was built on her trampled boundaries and his recklessness. The ideal that makes it, so jarring is the way in which it bears verisimilitude to mostrelationships. A scene from the film where it underscores the terrifying nature of their partnership is when they are practicing, and Jimmy’s behavior is extremely erratic and abusive toward Francine in the presence of her friends and colleagues.
Technically, some of the scenes could be trimmed considerably as there seemed to be no need for them. The cinematography is stunning with inventive shots and color by Technicolor. Despite its poor reception for its time, it appears to present much more potential for audiences today. New York, New York is an inventive musical film that bears much similarity to real life. It is an unexpected treat to watch and goes unnoticed amongst Scorsese’s other highly praised works.
The Island Cinephile 
