New York Stories 1989 (1989) Other movies recommended for you
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Plot: A middle-aged artist obsessed with his pretty young assistant, a precocious 12 year old living in a hotel, and a neurotic lawyer with a possessive mother make up three Gotham tales. Runtime: 124 mins Release Date: 10 Mar 1989
Different works from Scorsese and Coppola... Very good! (by mkw-5)
"Life Lessons" Scorsese -This is really different from the Scorsese we are used to see. This special form short episodes seems to have given the directors some new possibilities and freedoms. The movie is great. Nick Nolte and Rosanna Arquette are absolutely perfect. The story is simple on the surface, but the characters are very well build and very realistic: They are both lovable, sympathetic and stupid and selfish at the same time. The characters are maybe the deepest and most multi-dimensional that I've ever seen in a Scorsese movie."Life Without Zoe" Coppola <more>
-Very interesting movie. The story is about rich people, a rich and well succeeded family. The movie shows that rich people are people also. Very specially directed and acted. Very interesting."Oedipus Wrecks" Allen -I don't know if Allen is a director or an artist at all. He don't have anything to say, at least in this short picture. He's again acting himself, and comically, not acting very good. He's a super-neurotic person that creates problems out of nothing. He doesn't seem to have anything else in his life than whining about nothing and making movies about that. This is his most boring work I've seen. OK, maybe he's done something good also. But this was so bad, so boring and uninteresting that I hardly could watch it even with fast forwarding.Overally, because the Scorsese's piece is so great, and the Coppola's piece also in it's own way, this episode movie was very good, and very interesting. Allen's part couldn't make the other parts worse. Recommended for everybody.
A STRONG DISSENT - Please look again at Life Without Zoe (by leanneallan)
There has been arguably the strongest outpouring of negative commentary in IMDb ever seen about the supposedly little afterthought of the New York Storiues triad - "Life without Zoe." Could I at least ask a reconsideration? This dear, tender piece, created as a light bon-bon, shows through the magical/real prism of the young eyes that Ihope that you all experienced looking at the world as a child. One object or friend takes one's fancy for some reason for a little while, then another. Pace and cinematic tempo must reflect that which may look a mish-mash to adult viewer's <more>
eyes.The film basically just follows a bright, attentive young girl's life over a number of days,events being magnified or diminished just as they are as a girl records her diary highlights, or tells you the essential summary of what happened at school at the end of a day when you pick them up to take home. Seeing a drunk in the street may loom large, or the latest hip item of local kids clothing to be seen in.Many of these daily events don't necessarily have a further deep meaning, a filmistic solution or termination--the half-sculpted and wonky images of a day's life just end hanging, or disappearing into thin air.Matt Groening recently commented admiitedly speaking about the different genre of adult comedy in a UK interview that he felt that US audiences needed to be hit with a sledgehammer to produce an adequate comic effect and he would sometimes love to produce comedy with the subtlety acceptable to overseas audiences. I don't want to inflame any transatlantic passions, but is it possible that US audiences are just not able to handle stories such as the running of a child's mind that doesn't necessarily have a beginning, a middle, or an end? What if you just sat in the film and took in the experience---no punchline, only feeling and seeing...But young girls have bigger dreams and special loves---and there is for many nothing more special than the daughter's adoration, showoffiness,and special love for---their FATHER. It may extend to magnification of Dad to almost superhuman proportions---in this case, Dad is a classical flautist, and the dreaminess about her suave, charming, European, traveled father creates a delightful loving giant edifice of her father in her eyes, who creates special flute wandering leitmotifs to lull her to sleep, and informs her life with love. In reality, there is no fluff in here at all. I became blessedly a father to identical girl twins well after seeing this movie--and the relationship I have with my girls was perhaps more accurately portrayed here than in any other resonance or description I've encountered. The special tenderness of love for a father's daughter, and when young, this special inexplicable bond, mutually returned, is beyond 25 words or less--but Coppola has sensed this, no doubt especially helping to create this reciprocal magic by employing Sofia in the filmic role of the daughter--at this age and stage of Zoe's tender life, although her early cinematic ability is undoubted and has since been proved, I would judge being employed firstly as being the real daughter and distant secondly, as an actress.And in my view, he and she have both sensed this, and made a good filmic depiction of it. There is great depth of love mingled with total child's whimsy-quite a tough mix to encompass in a film short.Although I hinted this paediatric Ulysses a day in the life of...little girl X , as a child thinks, doesn't have beginnings, middles or ends, the adoration of young Zoe, mingled with all her other dreams, is crafted into an aesthetically stunning ?how real? climax of her father's achievement as a musician when he is lead flautist at an orchestral performance in the open air at the foot of the Acropolis, commencing at dusk---just one of these stunning, life lasting images that Coppola has this ability to produce. Perfectly timed, with kids in the select audience, father stands up and plays--and the repertoire drifts as thrilled Sofia's mind hears him playing at least to her ears ---the special children's music he plays to her when they are together putting her to sleep---my memory may be wrong, but I think it is is a rearrangement into multiple rather simple chord inversions and hence variations of 'Twinkle Twinkle Little Star'---but to Sofia, it is a classical triumph- a peak moment in a girl's pride in her father and an orchestral triumph of course of the highest order. Dramatic irony taken right back to the home of it!Give it a go and look at it again,if you liked the dream-time aspect of your own childhood, and especially all Dads of 7-12 yo girls, ESPECIALLY twins,and I expect, Grandads too, whose love for their grandchildren granted the gift of spare time and maybe reflection, often to me seem to even be more tender about the young than parents. It's not really a story--sorry, no big plot, no hard-hitting tag-line. It's drifting along that magical stream of consciousness of a child with parents that loom very large and blurred with an aesthetically beautiful finale at the Acrolopis with orchestra lit at dusk ----Mark Allan, Nedlands Perth ,Western Australia
An unconventional love letter to New York (by Rodrigo_Amaro)
Three of the most important directors of all time unite here to produce a remarkable conjointed project offering an interesting rendition about the modern center of the world, the imponent New York. It offers plenty of visions, transitioning from a realistic urban tale to dreamy and out of the ordinary situations that takes place in a city where everything can and will happen. I guess it's fair to say this was one of the first films of its kind with the city as main character , specially in American cinema who takes inspiration from many European classics of the 1960's with talented <more>
group of directors united for a common project, each with his view. Seeing "New York Stories" now is ten times more relevant now than what it was right when of its release. We can analyze the filmmakers evolution the washed-up Coppola tale is more of a Sofia project than one directed by Francis ; take a look at a New York distant from 9/11, a fresh, energic and positive place that seemed to open its arms to everyone. Nostalgia takes over."Life Lessons" Martin Scorsese segment : Marty, the only who haven't wrote his own piece, made a small masterpiece with his short film, the longest of the segments. It's a true spinning wheel on the life of a famous painter Nick Nolte who welcomes back a estranged girlfriend Rosanna Arquette , muse of his creations and according to him, love of his troubled life of countless failed marriages. Of all three, this has the most poignant story, and the visual master-craft of Scorsese is an ecstasy to the eyes with Nestor Almendros spectacular cinematography and the always effective editing of Thelma Schoonmaker, both helping to tell a story in a great sense. It tells plenty about relationships, the fragility, in's and out's and everything that comes with it, love vs. interest vs. passion. It's slightly melodramatic but it works."Life Without Zoe" Francis Ford Coppola segment : a rich girl Heather McComb lives a perfect life among rich friends and dedicated parents Talia Shire and Giancarlo Giannini who are tying to reconcile with each other. Everyhing's so vivid, colorful and so sitcom-like that...nothing happens, really. The most indulgent and careless of the segments, this one seems more like a Sofia Coppola project and she wrote it when she was 18 than a Francis film. Looking back now that she made tremendous films on similar hedonistic poor rich girl issues but with a little more depth, it only proves that some people can't change all that much. The city is OK here, and there's even time to flee to Greece."Oediphus Wrecks" Woody Allen segment : what can I say? Allen is Allen, always a pleasure to watch. Here, he plays a man who suffers with the constant interference of his mother Mae Questel, lovely on his life and relationships until the day she mysteriously disappears during a magic act. Everything's fine, he's spending more time with his girlfriend Mia Farrow until the mother pops up in the New York sky, still bothering him but this time for everyone to see and laugh of him. His only hope: a psychic Julie Kavner, brilliant who'll try everything on her book to make the old lady go away. New York is extensively captured, perhaps the only segment that allowed the viewers to get a real sense of how magnificent the city is - the shot with the mother's floating head over the World Trade Center is beautifully and magically done. Two good tales against one bad, the majority wins. Frankly, I prefer this movie than the current streaming of "NY, I Love You", "Paris, I Love You" and now Rio will have its movie that features a larger group of directors but only 4 or 5 can make decent and memorable pieces about those spectacular cities. I'd like to see new takes from the same directors, but this time Spike Lee instead of Coppola, and more focus on the other districts rather than only Manhattan. 10/10
In New York Stories, three segments are shown back to back, and they are all engaging in their own ways however it's only 2/3 successful as a total motion picture. Martin Scorsese's Life Lessons is a good example of what caliber of work Scorsese had when he made those three student films in the 1960's. It is a film that has a lot of depth, but it is quite worth it for fans of the actors and those who could get interested in Richard Price's story.Coppola, director of THE GODFATHER and APOCALYPSE NOW makes Life Without Zoe here, a film that is 180 degrees out of whack from those <more>
two movies in that it tells the story of a little rich girl whose best friend is a doorman and revolves around a rich boy's birthday party. In a way, it almost could appeal to kids, but it's the wrong place to put in between a story of artists by Scorsese and a comedy of mother and son troubles by Allen.Which brings me to the last short film, Oedipus Wrecks, where Woody plays a character whose mother suddenly out of the blue disappears. This is a good showing of what Woody can do in comedy without having to have a picture length presentation not that he makes many bad films by the way . So, New York Stories is worth checking out for Life Lessons and Oedipus Wrecks, and there could be an audience somewhere for Life Without Zoe, although the biggest flaw of the movie comes that neither one can connect at all outside of the fact that they all take place in New York and are made by New York directors- in short- fascinating and imperfect in some ways. B+
Life Lessons - I've probably seen it 10 times. You can refer to it as a 'short', but I get so wrapped up in it that I almost consider it to be a full-length movie. It's very close to perfect.Life Without Zoe - Past comments have stated that this is the weakest of the three. I don't like to think of any of the stories as weak. I think the order of the stories is what is important. First is the tense art world drama, then the fairytale-like Zoe. Zoe doesn't have the punch of Life Lessons, but it's a relaxing follow-up. Enchanted flutes, princesses, sheiks, diamonds, <more>
parties, sunsets. I hate to use the word 'cute', but that's what it is - very cute, and that's not a bad thing in this case.Oedipus Wrecks - Leaves the movie ending on a very outrageous and very funny note. This short is better than several of his movies and I'm a HUGE Woody Allen fan .
New York Stories is another anthology film that I was suckered into because of the credentials. Other anthology films that I've seen, like Four Rooms, have not been very good despite the amazing credentials. I haven't been a fan of most movies with more than one director, hence more than one vision thus many colliding like an orchestra playing unharmonious notes. New York Stories is satisfactory however, eve if its mood swings leave one feeling many different ways about it. You'll feel stimulated, yet strangely unfulfilled.Martin Scorsese's segment, Life Lessons, is very <more>
melodramatic in that hardened, grungy way of his. Nolte gives a wonderful performance, very intense, and Arquette is very realistic and effective. Scorsese employs his usual machine gun multi-genre soundtrack and plunging, stylistically passionate and energetic cinematography. His segment says something very profound and important about the human characteristic of selfishness and how much more abundant it is in ourselves than we care to accept.Then comes Francis Ford Coppola's segment, Life Without Zoe. Arg. The acting, despite the leniency one may generously give child actors, is awful. Heather McComb did in fact fill out very very nicely when she grew up, but that does not excuse her very scripted performance here. She's the least of the cast's problems, though. Everyone sounds like the salesmen on the used car commercials. The story is something quite silly. Perhaps it would be fine if it were its own film, but Coppola had to know that he was being teamed with Scorsese, his fellow creator of quintessential Mafia cinema, and Woody Allen, the prolific source of mature and sophisticated comedies about sex and relationships. Did he submit this segment for shock value? I guess so. Well, it worked. I don't understand why Coppola works with kids. His daughter Sophia, who at age 18 here co-wrote the script and designed the costumes, did in fact go on to become a fine director herself, but did he not notice his pattern after awhile? He makes The Conversation, the Godfather films, and Apocalypse Now, and we think he's found his niche. Then he starts making movies like this, following up with films like Jack with Robin Williams.Woody Allen's segment saves the film. I suppose this is one way anthology movies are interesting. In a single feature-length narrative film, when it takes a plunge in the middle, it can't really be saved in the end, especially if it was as bad as Coppola's segment. In an anthology, if the middle of the movie is terrible, you still have the end to look forward to. This is the case in New York Stories, because Woody Allen's segment, Oedipus Wrecks, the final third of the movie, is hilarious. It's one of the funniest satires he's ever done of the Jewish Brooklynite's culture. It's goofy in a subtle way, and fascinatingly surreal the way a lot of Allen's best and most creative work is. Actually, Oedipus Wrecks is perhaps the only one of the three parts that actually clearly represents a hue of New York's culture. Scorsese's part didn't represent New York as much as it represented the emotional tempests of an artist and happened to take place in the meatpacking district. Coppola's mid-section represented the lives of wealthy children whose lives are so free that they live practically like very spoiled and gossipy adults, but to such an outlandish degree of family-oriented fantasy that it's not at all credible. Woody Allen firmly focuses upon his division of New York culture. And by the by, it's a very pleasant surprise to see a younger Larry David, pre-Seinfeld and pre-Curb Your Enthusiasm, in a bit role in Oedipus Wrecks.Whatever was going through Coppola's mind, it's because of him that New York Stories can be described as a film in the shape of a circular saw. It's on one level, then takes a ninety- degree plunge to a different level, then again with the third segment it takes a ninety-degree ascension to the precise level it was at before.