6.7/10
15,897
82 user 63 critic

New York, New York (1977)

An egotistical saxophonist and a young singer meet on V-J Day and embark upon a strained and rocky romance, even as their careers begin a long, up-hill climb.

Director:

Martin Scorsese

Writers:

Earl Mac Rauch (screenplay), Mardik Martin (screenplay) | 1 more credit »
Nominated for 4 Golden Globes. Another 2 wins & 2 nominations. See more awards »

Photos

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Cast

Cast overview, first billed only:
Liza Minnelli ... Francine Evans
Robert De Niro ... Jimmy Doyle
Lionel Stander ... Tony Harwell
Barry Primus ... Paul Wilson
Mary Kay Place ... Bernice Bennett
Georgie Auld Georgie Auld ... Frankie Harte
George Memmoli ... Nicky
Dick Miller ... Palm Club Owner
Murray Moston Murray Moston ... Horace Morris
Leonard Gaines Leonard Gaines ... Artie Kirks (as Lenny Gaines)
Clarence Clemons ... Cecil Powell
Kathi McGinnis Kathi McGinnis ... Ellen Flannery
Norman Palmer Norman Palmer ... Desk Clerk
Adam David Winkler Adam David Winkler ... Jimmy Doyle Jr.
Dimitri Logothetis ... Desk Clerk
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Storyline

The day WWII ends, Jimmy, a selfish and smooth-talking musician, meets Francine, a lounge singer. From that moment on, their relationship grows into love as they struggle with their careers and aim for the top. Written by Steve Richer <sricher@sympatico.ca>

Plot Summary | Add Synopsis

Taglines:

The war was over and the world was falling in love again. See more »

Genres:

Drama | Music | Musical

Certificate:

AL | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

25 August 1977 (Netherlands) See more »

Also Known As:

Nea Yorki, Nea Yorki See more »

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Box Office

Budget:

$14,000,000 (estimated)

Gross USA:

$13,800,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (1981 re-issue) | (re-cut)

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Producer Irwin Winkler said that during filming, Robert De Niro would constantly be walking around with a copy of the book "Raging Bull". Raging Bull (1980) became the next film that De Niro and Martin Scorsese made together. It was also produced by Winkler and Robert Chartoff. See more »

Goofs

During the VJ dance sequence when Jimmy (DeNiro) is initially trying to pick up Francine (Minnelli), the cherry in her drink disappears (when she eats it in one shot) but then reappears in her drink only to disappear in subsequent shots. See more »

Quotes

Francine: That was it! That was you proposal, get your coat on, put your shoes on, lets go, lets go, lets go, that was it!
Jimmy: Whats wrong with that?
See more »

Alternate Versions

Originally released at 153 minutes, then cut to 136 minutes and finally re-released in 1981 in a 164-minutes special edition with restored material, including the complete musical number "Happy Endings," which was seen in a much shorter version in the originally released version of the film. See more »

Connections

Referenced in The Sopranos: Mr. Ruggerio's Neighborhood (2001) See more »

Soundtracks

But the World Goes 'Round
Music by John Kander
Lyrics by Fred Ebb
Performed by Liza Minnelli (uncredited)
See more »

Frequently Asked Questions

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User Reviews

 
Often Brilliant In Spite of Major Flaws
24 March 2005 | by gftbiloxiSee all my reviews

Released in 1977, Martin Scorsese's NEW YORK, NEW YORK instantly divided critical response--and, facing box office competition from no less than STAR WARS, proved a major financial failure. A significantly edited re-release followed not long afterward but proved even less well received and even less profitable. Although a double VHS release eventually brought the film to the home market, the film remained unpopular and made barely a ripple in public consciousness. In 2005, however, NEW YORK, NEW YORK received an unexpected release to DVD. At long last it may begin to reach a significant audience.

As a story, NEW YORK, NEW YORK draws from a number of oddly "Noir-ish" musicals made at Warner Bros. in the late 1940s. Most particularly, according to Scorsese's commentary, it drew from MY DREAM IS YOURS, a film that not only starred Doris Day but actually reflected her life in its tale of a talented big band "girl singer" trapped in an abusive marriage with a musician. Although the film force-fed the audience a happy ending, later films would not. In the mid-1950s, Doris Day's LOVE ME OR LEAVE ME and Judy Garland's A STAR IS BORN offered stories of a gifted female vocalists locked into disastrous romances that played out to a very distinctly unhappy ending, and NEW YORK, NEW YORK draws from them as well.

Scorsese not only repeats the basic stories and themes of these films, he also repeats the artificially heightened visual style typical of Hollywood films of the 1940s and 1950s--it is no accident that Liza Minnelli looks and sings remarkably like mother Judy Garland in this film--but he does so to an entirely unexpected end. The bravado performing style of such films is completely snatched away, and the characters are presented in an almost documentary-like realism. In theory, each aspect of the film would emphasize the other; in fact, however, this was precisely what critics and audiences disliked about the film when it debuted. They considered it extremely grating.

But perhaps the passage of time has opened our eyes on the point. I saw NEW YORK, NEW YORK in its 1977 release and, music aside, I disliked it a great deal. I expected to retain that opinion when I approached the DVD release, but I was greatly surprised. It holds up remarkably well, and most of the time the balance of artifice and reality works very well. But there are significant flaws. In a general sense, the film has a cold feel to it that occasionally becomes so downright chilly you begin to detach from it. But even more difficult is the character of Jimmy Doyle, the abusive husband of the piece.

The recent DVD release includes a noteworthy director's commentary, and Scorsese states that both he and actor Robert De Niro sought to push the character far beyond the extremes of MY DREAM IS YOURS, LOVE ME OR LEAVE ME, or A STAR IS BORN. They were perhaps more successful than they expected. The result is a character you actively do not want to watch or hear, and although we are eventually allowed to see beyond his annoying qualities that moment comes much too late in the film to make him acceptable in any significant way. It makes for more than one bout of uphill viewing.

Overall, I recommend the film--but it is very much a "Hollywood Insider" film that is probably best left to those who know a great deal about film history and who can recognize the numerous antecedents from which it draws.

Gary F. Taylor, aka GFT, Amazon Reviewer


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